Practical Dialogues, 

Drills, and Exercises 



rOQ ALL GPADE5 



BY 

MARIE IRISH 



Chicago 
a. flanagan, pubwsher 



5^*^"^ 

s^"- 



f- O ^"> 
TWO COPIES RECEIVED, 

Offieo e? th« 

•IUN2-19Q0 



^K. 



SECOND COPY, 



63921 

Copyright 1900 
By a. FLANAGAN 



CONTENTS. 



s7^ 






AT Christmas Time 






Page. 

. 70 


Be Thankfui. . 






. 64 


Bo-Peep and B0Y-B1.UE March 






. 91 


Butterfly Drili, 






. 100 


Bi,uE AND The Gray, The 






. 25 


Lost Chii^d, The 






. 151 


I/UCK AT I/AST . . . 






. 118 


MlWTARY DRII,!, . 






• 17 


Mother Nature's Party 






. 41 


Meeting oe the Ghosts, The 






. 127 


Modern Midsummer Night's Dreaw 


[, The 




. 168 


Our I^ag .... 






II 


Patriotic Choppers 






5 


PicTxmE Gai,i,ery, a . 






55 


Pumpkin Pie 






67 


Scene at the Ticket Office . 






141 


Swght Mistake, A 






134 


SuNFi,owER March and Drii<i, 






84 


Spring Romance, A 






36 


Tea- Party, The . 






III 


Watcrtng for Santa . 






82 



PATRIOTIC CHOPPERS 

WASHINGTON'S BIRTHDAY EXERCISE; FOR 
SIX BOYS AND SIX GIRLS 

Costumes : Girls dress in Martha Washington style; three 
wear plain blue dresses, white kerchiefs, and red caps — the 
other three, red dresses, white kerchiefs, and blue caps. 
Each girl carries a flag. 

Boys. — Continental costumes — three-corner hats, slippers, 
knee-trousers, cut-a-way coats, and white, ruffled waists. 
Three boys wear blue hats, and three red ones (straw 
hats can be covered with cambric, and pinned up in shape). 
The boys who wear red hats have blue coats, those who 
wear blue ones have red coats. Each boy carries a wooden 
hatchet, decorated with red, white, and blue ribbons. 

The children marcli in to the tune of 
" Yankee Doodle," the boys entering at 
right, and girls at left of stage ; meet at cen- 
ter of back, form couples, march down center 
to front, cross lines, the girls passing to 
right and boys to left of stage, march 
up sides and meet again at center of back. 
The leaders stand facing each other, the 
boy raises his hatchet at arm's length, the 
girl raises her flag, and have them meet 
at the top. The next couple pass in under, 

5 



6 PRACTICAL DIALOGUES 

raise Hatcliet and flag, and stand beside the 
first couple ; the third couple pass under, 
do as the former two, and so on, until all 
are in line. The first couple then pass 
under to the front of stage, where the girl 
leads to the right around edge of stage, the 
boy to the left ; as soon as the first couple 
pass under the arms of the second couple, 
they (the second couple) drop arms, pass 
under, and follow first couple ; each couple 
does the same until all have passed under 
and marched around the stage. At back of 
stage the files pass each other (the boys 
keeping to the outside), the girls come down 
the left of stage, and boys down the right. 
At right and left corners of front the files 
pass in oblique lines to the center of back 
of stage, where they meet, form couples, and 
pass down stage to the front. First couple 
passes to the right, halts, and faces audience, 
the girl stepping back of the boy and stand- 
ing behind him ; second couple passes to 
left, halts, and faces audience, the girl stand- 
ing back of the boy ; third couple to the 
right, and so on, until two lines are formed 
across front of stage, the six girls standing 



PATRIOTIC CHOPPERS 7 

back of tlie boys. Tbe boys bold batcbets 
in rigbt bands, witb back of batcbet bead 
resting in tbe bollow of rigbt sboulder. 
Girls bold flags in rigbt band, vertically at 
rigbt side. Tbey now sing to tbe tune of 
" Yankee Doodle," tbe following : — 

1. Once on a time tbere was a boy, 

Wbo was bis fatber's treasure ; 
He bad a batcbet new and sbarp, 
Tbat gave bim greatest pleasure. 

[During tbe cborus tbe boys make mo- 
tion of cbopping witb tbeir batcbets, keep- 
ing time to tbe music] 

Cbop I cbop ! cbop ! ob, bew it down. 
Let your strokes be steady ; 

Hew it down witb all your migbt, 
And stop wben you are ready. 

2. Out in tbe yard a little tree 

All by itself was growing. 
And naugbty Georgie cut it down — 
Just wby, tbere is no knowing. 

Cborus (as before). 



8 PRACTICAL DIALOGUES 

3. Now Georgie was a truthful lad, 

Who could not tell a lie, sir ; 
When asked who chopped the cherry- 
tree. 
He said, " Boo-hoo (hang heads and 
rub eyes with the left hand) , 
t' was I, sir." 

Chorus (as before). 

4. Now, boys, you e'er must truthful be, 

Remember what we say, sir ; 

For if you do, perhaps you '11 be 

Our president some day, sir. 

[Omit words to the chorus (music con- 
tinues), and execute the following commands, 
given by the leader of the girls. Bach com- 
mand and its execution takes the time of 

one line of the music of chorus.l 
< -■ 

Present hatchets. — Hold hatchets verti- 
cally in front of center of body, the front 
edge of blade presented to audience. 

Parry. — Hatchet held horizontally above 
head. 

Charge. — Step forward with left foot, 
lean slightly forward, extend hatchet at 
arm's length in front of body. 



PATRIOTIC CHOPPERS 9 

Carry hatchets. — Return hatchet to posi- 
tion at right side. 

Music now changes to " Columbia, Gem 
of the Ocean," and all sing : — 

1. When the burden of England's oppres- 

sion 
Our land could no longer endure, 
Our forefathers said in confession, 
"This wrong we must right, that is 

sure : " 
Their mandate made heroes assemble, 
For Justice and Right they stand ; 
Their banners made tyranny tremble. 
When borne by the brave of our land. 

[During the chorus the boys move 
hatchets as in first song.] 

They chopped with their might and their 
main. 
They chopped and they chopped not 
in vain; 
Their sharp-edged hatchets of Freedom 
Soon chopped England's power in 
twain. 

2. Our glorious and gallant defender, 

Determined our land should be free. 



lO PRACTICAL DIALOGUES 

At last caused proud England's surrender, 

And felled her tyrannical tree, 
Witli the emblem of Justice before him, 

And Liberty's form e'er in view, 
With his flag (girls raise flags and wave 
them above the boys' heads — continuing 
through the chorus) 

proudly floating above him, 
The victory he bore his brave crew. 

Chorus (boys chopping with hatchets as 
before). 

Music changes to " America," and all 
sing: — 

Our country, 't is to thee. 
Sweet land of Liberty, 

We raise our song : 
Neath Freedom's banner bright, 
We'll stand for Truth and Right, 
And e'er with all our might 

Chop down the Wrong. 

Music changes to " Yankee Doodle," lines 
form couples, and march around stage and 
then exeunt. 



OUR FLAG 

A PATRIOTIC EXERCISE FOR SIXTEEN 
CHILDREN 

[Each, child carries a palm-leaf fan, half of the fans 
being covered with red cambric and having a 2-inch ruffle 
of blue around the edge, the other half being covered with 
blue and having a red ruffle. On each fan is a letter (five 
inches high) cut from white cardboard. The letters when 
arranged in order spell " Hurrah for the flag." The fans 
are held so that the letters do not show until each child 
speaks. . At front of stage have a flag staff. A fishing-pole 
so fastened into a small dry-goods box that it stands erect 
will answer. Drape the box with red, white, and blue bunt- 
ing, or a shawl. Remove an 1 8-inch flag from its stick, and 
sew it on to one end of a stout twine twice the length of the 
pole. Pass the twine through a loop at the top of the pole 
and tie the two ends together. By pulling on the twine 
the flag can then be raised to the top of the pole. At the 
beginning of the exercise the flag is at the foot of the pole, 
ready to be raised.] 

The children enter at the left of stage 
and form in three lines across the back of 
platform, — those on the first line having 
the letters f-l-a-g ; those on the second 
f-o-r t-h-e, and those on the back line 
h-u-r-r-a-h. They stand thus : — 



12 PRACTICAL DIALOGUES 

I. 2. 3. 4- 5- 6. 
7. 8. 9. 10. II. 12. 

13. 14. 15. 16. 
When marching in, the fans are carried 
in the left hand. As soon as all are in posi- 
tion, No. 16 steps forward and raises the 
flag to the top of the staff (fastening the 
twine so as to keep the flag in place). Just 
as it reaches the top of the staff the other 
children give the following salute : — 

1. Extending the right arm and pointing 
directly at the flag, then bending the fore- 
arm so as to touch the fingers lightly to the 
forehead, they exclaim, " We give our 
heads ! " 

2. Placing the right hand over the heart 
they continue, " and our hearts ! " 

3. Hand falls at right side as they say, 
" to our country ! " 

4. Standing motionless, they exclaim, 
" One country ! One language ! " 

5. Extend the right arm at full length, 
the hand pointing at the flag, the body 
inclining slightly forward, and say with 
great force, — " One flag." 

6. Right arm is dropped at side, fans are 



OUR FLAG 13 

transferred to right hands, and No. 16 
returns to place. Children now speak, each 
one in turn revealing the letter on his or 
her fan. Those on the second line raise 
their fans higher than those on the first line 
do, while those on back line raise theirs 
higher than those on the second line. 

No. I. 
Honor your country, whatever you do, 
And to Old Glory forever prove true. 

No. 2. 
United are we, heart to heart, hand to hand; 
For liberty's banner we now take our stand. 

No. 3. 
Red is for courage, for faithfulness the blue. 
White is for honor — a lesson in each hue ! 

No. 4. 
Rally round our flag, whose glories e'er 

increase ; 
Offer loyal service in war and also peace. 

No. 5. 
Always let us keep the stars and stripes 

unfurled, 
And strive to make our flag the greatest in 

the world. 



14 PRACTICAL DIALOGUES 

No. 6. 
Here waves the flag for which our fathers 

died, 
Flag of victory, — a grateful nation's pride. 

No. 7. 
Flag of our Union, oh, shine forever bright! 
Emblem of justice, of liberty and might. 

No. 8. 
On land or sea, in sunshine or in gale. 
With our flag above us our hearts shall 
never fail. 

No. 9. 
Reaping the reward of victories of yore, 
Our flag now flies in peace from east to 
western shore. 

No. -10. 
There's only one flag in this land of the 

brave — 
Over all our nation shall " Old Glory " wave. 

No. II. 
Here is the flag that never knows defeat ; 
Once in the right it suffers no retreat. 

No. 12. 
Ev'ry land has its flag, whether great or 
small, 



OUR FLAG 15 

But we are glad to say, " Old Glory " beats 
tliem all. 

No. 13. 
Forward let us march, freedom's banner 

o'er us ! 
Breathes there no foe who shall not fall 
before us. 

No. 14. 
Long may it wave — the red, the white, the 

blue ! 
To my country's flag I shall be ever true. 

No. 15. 
All hail to our flag, may its stars ever shine, 
O'er the land that we honor, your country 
and mine. 

No. 16. 

Greet we the banner of our fathers brave, 
Who died beneath its folds our liberty to 
save. 

As No. 16 finishes speaking, all repeat 
together : " I pledge allegiance to my Flag 
and the Republic for which it stands : one 
Nation indivisible, with Liberty and Justice 
for all." At the words, '' to my Flag," the 
right hand (still holding the fan) is extended 



1 6 PRACTICAL DIALOGUES 

toward the flag, and remains tlius till the 
end of the affirmation ; whereupon all hands 
drop to the side. 

The children then march forward and 
form in two semicircles just back of the 
flag staff, Nos. i, 2, 3, 4, 5, 6, 7, 8, 9, on the 
back; Nos. 10, 11, 12, 13, 14, 15, 16, on 
the front line. All join in singing the fol- 
lowing : — 
Tune : " Columbia, Gem of the Ocean." 

O'er Columbia, the home of our nation, 

Our banner of freedom shall wave. 
Beloved with glad exultation. 

Upheld by the loyal and brave. 
Thou emblem of freedom and justice, 

We here pledge allegiance to you ; 
Thy colors shall ever protect us. 

Blest flag of the red, white, and blue. 
Hurrah for the red, white, and blue. 

Hurrah for the red, white, and blue, 
Our banner of freedom and justice. 

We here pledge allegiance to you. 



MILITARY DRILL 

FOR TWELVE BOYS 

Each boy carries a gun, either one sawed from wood, or 
an air gun. For a patriotic occasion these should be neatly 
wound with red, white, and blue. 

Music: A Patriotic Marcli. 

During the march the boys " carry guns '* 
in the right hand, grasping the stock just 
under the hammer, barrel nearly vertical 
and resting against the shoulder, the arm 
hanging at nearly its full length, near the 
body. They enter at back of stage in sin- 
gle file, march down center to front of stage, 
first boy turns to right, second to left, third 
to right, and so on, pass up sides of stage, 
and form couples. March in couples to 
front of stage, first couple turns to right, 
second to left, third to right, and so on, pass 
up sides of stage and form in fours at the 
back. March down center of stage in fours, 
and at the front the first four halt, the sec- 
ond four march to the right of the first four, 

17 



1 8 PRACTICAL DIALOGUES 

and the third four march to their left, where 
they form in straight line, twelve abreast. 

DRILL. 

Salute. — Raise the left hand until the 
forefinger touches the forehead above the 
left eye, thumb and fingers extended, palm 
to the right. Drop arm at side. 

Order Arms. — Butt of gun rests on 
ground, arms hanging naturally, right hand 
holding the barrel between thumb and fin- 
gers, first two fingers in front, the others in 
rear, and opposite the seam of the trousers. 

Carry Arms. — Raise gun vertically with 
the right hand, grasp it at the same time 
with the left, above the right, resume the 
position described for " carry." Drop left 
hand. 

Present Arms. — Move gun with the right 
hand to position in front of center of body, 
at the same time grasp it with the left hand 
so as to bring the forearm in horizontal 
position against the body; then lower the 
right hand a few inches. The barrel of 
gun should be in front of the face. 

Carry Arms. — As before described. 



MILITARY DRILL I9 

Right Shoulder. — Raise gun vertically 
with right hand, grasp it with the left and 
raise this hand till on a level with the chin ; 
grasp butt of gun with right hand and raise 
it until the hammer rests on shoulder, and 
barrel, pointing a little to the left, touches 
the back of head. Drop left hand. 

Carry Arms. — 

Port Arms. — Grasp gun a little below 
middle of barrel with the left hand, and hold 
it diagonally across chest, barrel resting on 
left shoulder, and butt against right thigh. 

Carry Arms, — 

Order Arms. — As before described. 

Parade Rest. — Move right foot six inches 
straight to the rear, left knee slightly bent, 
carry barrel of gun in front of center of 
body, and grasp it near the top with both 
hands. 

Squad Attention. — Drop left hand and 
place gun in position described in " Order 
Arms." 

Load. — Step obliquely to the right with 
the left foot, move right foot to the rear, and 
slightly to the right, at the same time raise 
gun with the right hand, grasp it at the bal- 



20 PRACTICAL DIALOGUES 

ance with the left, the muzzle at the height 
of the chin ; half cock the piece, lower muz- 
zle slightly, load and raise muzzle to height 
of the chin. 

Ready. — Cock the piece with the right 
thumb. 

Aim. — Raise gun with both hands and 
support the butt against hollow of right 
shoulder, the barrel horizontal ; right elbow 
on level with shoulder ; incline head slightly 
forward and to the right, cheek resting 
against gun, left eye closed, and the right 
looking through sight notch. 

Fire. — Press finger against trigger. 

Load. — Lower gun and load as before. 

Kneel. — Half facing the right, kneel on 
the right knee, bending the left, right leg 
pointing directly to the right, weight of 
body on right heel. 

Ready. — As before described. 

Aim. — 

Fire.— 

Rise. — Rise and take the position of 
"Order Arms." 

Carry Arms. — 



MILITARY DRILL 21 

Rifle Salute.— Carry the left hand to the 
hollow of the right shoulder, forearm hori- 
zontal, thumb and fingers extended, palm 
down, forefinger against gun. Drop hand 
at side. 

Frail Arms. — Gun is held in the left 
hand just above the balance, left arm slightly 
bent, barrel up, muzzle slightly to the front. 

Left Shoulder. — Gun rests on left shoulder, 
barrel up, muzzle elevated, and butt grasped 
in the left hand. 

Sling Arms. — Gun held in rear of the 
right shoulder, nearly vertical, muzzle up, 
right hand grasping the small of stock. 

Secure Arms. — Gun is held in right hand 
at the balance, barrel sloping downward and 
to the front; right hand resting against 
front of hip, and upper arm against the 
stock. 

Carry Arms. — 

Left Face. — Face left of stage. 

Forward March. — March up the left of 
stage, and form in line at the back, standing 
as far apart as possible, each facing front 
of stage as he halts, and marking time with 
the feet. 



22 



PRACiriCAL DIALOGUES 



Forward March. — Marcli to front of stage 
and form in as short a line as possible, 
thus : — 



OQOQOOpOQppP 


\ *• 1 


will 


\ \ \ \ \ \ 


III/// 


ji \ \ \ \ \ : 


i ; / / / / 




if if// : 


\ \ \ ' • i 


; //// 




///// 


bhh^pj: 


666666 



Those who have a shorter distance to 
march must march more slowly than the 
others so that all reach places at exactly 
the same time. 

Halt. — Line stops at front of stage. 

About Face. — Face the back of stage. 



MILITARY DRII.L 23 

Forward MarcH. — March to the back of 
stage, thus : 



GO 
OO 




OO 
OO 
.(D.® 





\S^^'^«. yyy y// 

^<^:<:^>. y'^'y/// 
\^<>y:>ryyyy'/ 

y- y yyCsy:\'^^. 

^yyyO<y:?:s>\, 


f-' 

kl 

i 




ao'o'ojjjDjDX^paoo 





The three boys nearest the right are to 
form line No. 3, standing as close together 
as possible, the next three form line No. 4, 
the next three line No. i, and the last three 
Line No. 2. Bach boy as he forms in line 
remains facing the back of stage. All 
should reach places at the same time. 

About Face. — Face front of stage. 

Forward March. — March to front of stage 
as shown in the following : — 



24 



PRACTICAL DIALOGUES 



oo 
oo 








oo 
oo 


'^N--.. 

* ^^^\ 


^ X 




/^''' 


<y 


o 




iill 
COCO 

oooo 




Y 
•1 



On reaching the front the two files near- 
est the right of stage turn to the right, 
march up right side and exeunt at right cor- 
ner of back ; the other two files turn to the 
left, pass up left side, and exeunt. 



THE BLUB AND THE GRAY 

A MEMORIAL DAY EXERCISE FOR TWENTY- 
TWO CHILDREN 

Characters and costumes : Uncle Sam. — Suit of red, 
white, and blue — striped trousers, long, swallow-tail coat, 
high, stiff hat, large necktie, and hair powdered. Carry 
large flag. 

Goddess of Liberty. — White gown, sash of red, white, 
and blue (worn from the shoulder diagonally across the 
chest), and crown covered with gilt paper. Carry wreath 
of flowers. 

Soldiers. — Five boys wearing blue cambric coats, and 
five wearing gray ones. Bach boy carries a flag. 

Flower girls. — Ten girls in white, each wearing a 
rosette of red, white, and blue (with long streamers) on the 
left shoulder, and carrying a bouquet of flowers. 

As a marcli is played, the boys enter in 
single file at tlie R comer (front) of stage 
in tlie following order: Uncle Sam, a boy in 
blue jacket, two in gray, two in blue, two 
in gray, two in blue, and one in gray; at 
tbe same time tbe girls enter in single file 
at tbe left corner (back) of stage, tbe God- 
dess of Liberty leading the line. The files 
then march as is shown in the following dia- 
gram: — 

25 



» 



A i 



X 



\ 



'^ 



y-y 



^__w.„v-— ^ ^ ■*— 



• 

xy 



~-^<N- 



J £.^ 



"x "-J 



■R O /^ T. 



From the right and left sides the lines now march 
follows :— 




THK BLUE AND The gray 2'] 

On reaching the C of back of stage, the 
last time before coming down the center, 
Uncle Sam and the Goddess of Liberty stop 
at center of back, the others march between 
them and form two lines down the center of 
stage ; when the last couple is in position, 
Uncle Sam and Goddess of Liberty march 
together between the two lines to the front 
of stage, then Uncle Sam passes to the 
right comer (front) where he remains stand- 
ing, and Goddess of Liberty passes to left 
comer (front) and stops. 

The files move together and form couples, 
the first couple passes to the right, second 
couple to the left, third to the right, and so 
on; march to comers of front, where the 
girls stop in line, on either side of stage; 
the boys pass up sides, meet at center of 
back and form couples, march in couples 
halfway down stage, then those on the left 
turn to the left, those on right turn to right, 
and form a straight line across the stage 
from right to left. Here they halt, and the 
positions on the stage are thus: — 



28 PRACTICAL DlAtOCU^S 




Uncle Sam now speaks: — 

1. To-day, throughout this land of freedom, 

From the east unto the west, 
Memories of deeds heroic 

Fill each patriotic breast. 
Hearts are glad, yet filled with sorrow, 

Joy will come, yet fade away. 
As we pay our loving tribute 

To the boys in blue and gray. 

2. Years have passed since their brave 

struggle; 



THE BLUE AND THE GRAY 29 

Long their warfare lias been o 'er, 
But we still recall the glory 

Of their victories of yore, 
We rejoice that o' er our nation 

Harmony and peace hold sway, 
Yet we sorrow for the heroes 

Lost from ranks of blue and gray. 

3. Now o' er all this land of freedom. 

Proudly doth our banner wave, 
Flag of liberty and justice. 

Flag our soldiers died to save, 
Leading us to fame and glory. 

May its colors shine for aye. 
Loved alike in north and southland, 

Honored by the Blue and Gray. 

4. Likewise we to-day would honor 

Those who answered Cuba's cry. 
And against the Spanish tyrant, 

Bravely marched to do or die, 
Soldier of the northland eager, 

Soldier of the southland gay. 
For humanity joined forces — 

Side by side the Blue and Gray. 



30 PRACTICAL DIALOGUES 

During the recitation the boys in blue 
and gray take tbe following positions witb 
their flags: — 

I. — Flag held in right hand, arm hang- 
ing at side, and top of flag even with 
shoulder. 

2. — The first two boys raise flags and cross 
them thus : X / third and fourth 
boys, and so "^^V/^m on, the same. 

3. — B a c h /\ ^*^y waves his flag 
abovehis / \ head. 

4. — Hold flag across the chest diagonally, 
the top resting on the left shoulder. 

5. — Step forward with right foot, and 
wave flag at arm's length in front the body. 

The music then continues, and the girls 
at the right of stage march across the front 
and up the side ; those at left of stage march 
across the front and up the right side; the 
lines meet at C of back, form couples, and 
march down C to just back of the line of 
boys. No. I turns to the right (passing 
in front of No. 2), marches along the line, 
and stops by the boy with whom she 
first marched. No. 2 marches to the left 
and stops by the boy at opposite end of line 



THE BLUE AND THE GRAY 3 1 

from No. i. No. 3 turns to tlie right, No. 
4 to left, and so on, until each girl is stand- 
ing by her former partner. The lines then 
face the right, march in couples to C of 
right side, down to front, across front to 
C, up C of stage, to back where the boys 
turn to the left, and girls to the right. Pass 
in single files to corners of back, and down 
sides of stage, then advance to the center of 
stage in two lines, ten abreast. When 
within two feet of each other, the lines halt 
and remain facing. Beginning with No. i, 
each girl in turn, steps forward and pins her 
bouquet on the coat of the boy facing her, 
and as she does so, recites a stanza as 
follows : — 

No. I. 

Our tributes of love we offer to-day, 
Flowers alike for the Blue and the Gray. 

No. 2. 

Bright as the stars which so brilliantly 

shine, 
The fame of our soldiers shall never decline. 



32 PRACTICAL DIALOGUES 

No. 3. 
Talk of your kings and plumed knights if 

you will, 
Tlie man with the musket is my hero still. 

No. 4. 
We shrine in our hearts these brave heroes 

of ours, 
And bring them to-day our beautiful flowers. 

No. 5. 
A hero ? 'T is he who enters the strife 
And gives to his country his service — his 
life. 

No. 6. 

A reminiscent people honor thee to-day. 
Heroes patriotic, Boys in Blue and Gray. 

No. 7. 

Thy glory and triumph shall never de- 
crease, 

Though sheathe we thy sword with our gar- 
lands of peace. 

No. 8. 
These flowers fair which gladly we have 
brought, 



THE BLUE AND THE GRAY 33 

Are emblematic of a nation's love and 
tliougHt. 

No. 9. 
Held in memory, forever shalt thou live, 
Honored by the homage thy country loves 
to givQ. 

No. 10. 

More fully do we realize, each Decoration 

day. 
That the debt we owe our soldiers is one we 

ne'er can repay. 

Goddess of Liberty speaks : — 

1. In memory of soldiers now at peace, 

Who answered to the angels' reveille. 
And from the din of battle found release. 
We twine our wreaths and garlands 
fair to-day. 

2. The bugle blast shall ne'er disturb 

them more, 
They fell as fall the heroes and the 

brave ; 

Their days of toil and danger all are o' er, 

And we wreathe our fairest flowers for 

their grave, 
3 



34 RACTICAL DIALOGUES 

3. Dissension, strife, and liate have passed 
away, 
O' er all our land our starry banner 
waves ; 
But we honor still the boys in Blue and 
Gray, 
And twine our fairest garlands for 
their graves. 

As she finishes speaking, the Goddess of 
Liberty marches up the center of stage to 
the back, passing between the lines of boys 
and girls, and hangs her wreath of flowers 
above the inscription, " To Our Fallen 
Heroes," which is written on a sheet of 
cardboard, and fastened to the wall at back 
of stage before the exercise begins. 

Uncle Sam now marches up the right side 
of stage and joins the Goddess of Liberty ; 
they march together down the stage, pass- 
ing between the lines of boys and girls who 
still stand facing each other. At the front of 
stage Uncle Sam turns to the left, and the 
line of boys follows him, while the girls fol- 
low the Goddess of Liberty, who turns to the 
right. The two files pass up the sides of 



THE BLUE AND THE GRAY 35 

stage; on reaching the C of back, Uncle 
Sam stops, and the first five boys march on 
past him, face the front of stage, and halt, 
while the other five boys stop in line at the 
left of Uncle Sam, face the front, and halt. 
In this manner a line is formed across the 
stage with Uncle Sam in the center. At 
the same time, and in like manner, the girls 
form a second line across the stage, just 
back of the boys, with the Goddess of Lib- 
erty in the center. When all are in position, 
the lines march to front of stage, eleven 
abreast, where they halt, and sing the first 
and last stanzas of "America," the boys 
waving their flags as they sing. At the 
conclusion, the lines face the left, form 
couples, march up the left side of stage, 
across back, and exeunt at right side. 



A SPRING ROMANCE 

AN ARBOR DAY EXERCISE FOR TEN 
CHILDREN 

I St Child (enters carrying a large brancli 
from which the leaves have been stripped): 

This is a branch of a tree. 

2d Child (takes place by the first, carrying 

in each hand a cluster of green leaves 

either natural or cut from green paper): 

These are the leaves of shining green, 

That grew on the branch you just have 

seen. 

3d Child (carries a bunch of grass in each 

hand, and takes place beside the two 

others): 
This is the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 
That grew on the branch you just have 

seen. 

36 



A SPRING ROMANCE 37 

4ih Child (carries a bouquet of buttercups): 
These are the Buttercups yellow as gold, 
Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 
That grew on the branch you just have 

seen. 

5th Child (carries bouquet of dandelions): 

These are the Sir Dandelions bold, 
Who loved the Buttercups yellow as gold 
Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 
That grew on the branch you just have 

seen. 

6th Child (carries a bunch of Jack-in-the- 
pulpits) : 

These are Jack-in-the-pulpits, calm and 

proud. 
Who married the Sir Dandelions bold 
Who loved the Buttercups yellow as gold 
Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 



38 PRACTICAL DIALOGUES 

That grew on the branch you just have 
seen. 

7th Child (carries bouquet of wood lilies) : 

These are the Lilies whose bells rang loud 
When the Jack-in-the-pulpits, calm and 

proud, 
Married the Sir Dandelions bold 
Who loved the Buttercups yellow as gold 
Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 
That grew on the branch you just have 

seen. 

8th Child (carrying a bird): 

This is the Birdie who sweetly sang 
As the Lilies rang their bells so loud • 
When the Jack-in-the-pulpits, calm and 

proud, 
Married the Sir Dandelions bold 
Who loved the Buttercups yellow as gold 
Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 



A Spring romance 39 

That grew on the branch you just have 
seen. 

9th Child (carries a bird's nest): 

This is the nest where the Birdie swung 

The while his song he sweetly sung 

As the Lilies rang their bells so loud 

When the Jack-in-the-pulpits, calm and 

proud, 
Married the Sir Dandelions bold 
Who loved the Buttercups yellow as gold 
Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 
That grew on the branch you just have 

seen. 

loth Child (makes bow as he or she begins 
to speak) : 

I am the child who gayly ran 

To see the nest where the Birdie swang 

The while his song he sweetly sang 

As the Lilies rang their bells so loud 

When the Jack-in-the-pulpits, calm and 

proud, 
Married the Sir Dandelions bold 
Who loved the Buttercups yellow as gold 



40 PRACTICAL DIALOGUES 

Who lived in the grass so soft and clean 
That covered the ground 'neath the leaves 

of green 
That grew on the branch you just have 

seen. 



MOTHER NATURE'S PARTY 

AN ARBOR DAY EXERCISE FOR TWENTY- 
SEVEN CHILDREN 

Enter Mother Nature, dressed in green skirt trimmed with 
leaves and branches, white waist trimmed with flowers, and 
a large, flower-trimmed hat. 

Mother Nature : 

Gladly do I once more welcome 

This day when birds and flowers hold 
sway; 
For each year as it comes to us, 

The songs and rhymes of Arbor Day 
Awake sweet echoes in the heart, 

And thrill us with their tender lay. 
The storm-tossed oak of forest vast, 

The graceful shade tree of the town; 
The cheery messengers of song. 

In brilliant hues or sober brown; 
The flowers radiant and fair, 

To boys and girls have dearer grown, 
And in the Nature language quaint 

Their secrets marvelous made known. 

41 



42 PRAcl'ICAt DiAtOGUKS 

From Nature's book in grove and field, 

With wond'rous lessons therein penned, 
These boys and girls have learned to call 

The tree, the bird, and blossom, friend. 
Common trees and how to know them. 

The wild flowers sweet, and where they 
grow. 
The haunts and habits of the birds, 

The children now delight to know. 
And scarce can I express to you 
The joy I feel that this is true. 

[Enter King Useful, dressed in a dark robe 
(a black shawl can be draped to answer) 
and gilt crown, and Queen Beautiful 
dressed in robe of white and gilt crown.] 

King Useful : 

Ah, Mother Nature, I who seek 
For that which is of use to man. 

Have come to hear your children prove 
Their usefulness — if so they can. 

Queen Beautiful : 

And, Nature dear, I who would fain 

Give beauty and her court full sway, 
Have come to hear if tree and flower, 



MOTHER NA'TURE's PAR'TY 43 

Who beautify the world, they say, 
Prove their claim to the aesthetic 
On this, their boasted Arbor Day. 

Nature : 

Gladly do I bid you welcome 

And hope erelong to prove to you 
That my children's claim to beauty, 

And likewise usefulness, is true. 
King Useful, kindly have a seat. 

And you. Queen Beautiful, I pray. 
My birds, my trees, and lovely flowers 

Will hold their revels here to-day. 

[At back of stage have three chairs deco- 
rated with boughs and flowers. Mother 
Nature takes the center one, while K. U. 
sits on her right and Q. B. on her left. 
Enter eight boys wearing caps and ruffles 
of green, their jackets trimmed with 
green leaves, and each carr3dng a green 
bough.] 

Marching in in single file the boys march 
around the stage in a circle, then a square, 
and lastly, a triangle whose apex is at cen- 
ter of front of stage. From here they pass 



44 



PRACTICAI, DIALOGUES 



Up center of stage, first boy turns to right, 
second to left, and so on. As they march, 
they wave branches. They take positions 
thus: — 







(n-ABL. 


o 


(£) 


, ® 


© 


. ® 


® " 


"® 


@ 


I 


J 


.< 






F T*. o, /s T. 



They now speak as follows : — 

1st Boy: 
Kind Mother Nature, we have come 

To celebrate our Arbor Day, 
And claim for leafy, green-robed trees 

The privilege to hold for aye 
The foremost place in Nature's heart 
For reasons which we now impart. 



MOTHER nature's PARTY 45 

26. Boy : 

Spacious dwellings, cabins lowly, 

Homes throughout this world so wide. 

Record bear of timbered giants — 
Millions once the forest's pride. 

Attempt to name them, ye who can, 

The comforts that trees furnish man ! 

3d Boy : 

When the summer sun is blazing, 
And the world seems born of heat. 

Then our verdant, spreading branches 
Offer welcome, cool retreat. 

How sweet to thus the world evade 

And idly dream beneath our shade ! 

4th Boy : 

For cheer and comfort that we bring 

When autumn comes and days grow chill ; 

When. Sir Jack Frost begins his work 
And winter winds blow loud and shrill ; 

'T is then the forest monarch bold 

With ruddy warmth dispels the cold. 

5th Boy : 

He who studies agriculture 

And turns his thoughts unto the soil, 



46 PRACTICAL DIALOGUES 

Finds tlie presence of the forest 

To barrenness a ready foil. 
The climate, soil, and waterway 
Yield to its power day by day. 

6th Boy : 

Our spreading canopies of green, 

O'erhanging graceful branches strong ; 

Our myriads of dancing leaves 

Which answer to the wind's sweet song ; 

Our autumn hues of brilliant glow. 

Do they not wond'rous beauty show ? 

7th Boy : 

When, stripped of summer's leafy crown. 
Our graceful boughs are brown and bare, 

A rugged, somber beauty still 

Our moss-grown, lichened branches wear ; 

Or, clothed in robe of dazzling white, 

Like dreams of glory we shine bright. 

8th Boy : 

The boys who clamber o'er our boughs, 
The birds who here their homes have made, 

The sweet-faced maids and dollies fair 
Who love to play beneath our shade, 



MOTHER nature's PARTY 47 

Are we of use to them, think ye? 
Ask them, Nature dear, and see. 

[Starting with Nos. 7 and 8 as leaders 
the boys pass to front of stage, turn and 
march up sides, then meet and form a 
straight line back of Nature and her guests. 
Enter eight girls dressed in white. Two 
have blue cheese-cloth sashes, wear wreaths 
of violets, and carry bouquets of them ; two 
have yellow sashes and buttercups ; two 
pink sashes and roses ; two, white sashes 
and white flowers.] 

Entering in single file the girls march to 
center of front of stage and then form a — 




48 PRACTICAL DIALOGUES 

Marcliing to right comer they next form a- 



X .y' 



and then passing to center of front they 
march up the center of stage, and take 
places where the boys stood when they 
spoke. 

ist Girl speaks : 

Dear Nature, we the flowers come 
To give you greeting and to say 

That we are first in Nature's realm, 
And thus should win the palm to-day. 

2d Girl : 

Colors wonderful we 're wearing. 
The tints of our fair azure blue. 

And sunset hues so radiant. 

Where heaven's glory shineth through. 

3d Girl: 
The desert places of the earth, 

The cheerless corners here and there, 



MOTHER NATURE^S PARTY 49 

Are made to blossom into bowers 
When brigbtened by our colors rare. 

4th Girl: 

By our quiet zeal and patience, 

Each blooming gladly in her place, 

Shining in a humble comer, 
We teach humility and grace. 

5th Girl : 

With our brightness like the sunshine, 
We banish gloom and brooding care ; 

Bringing cheer to hearts of sorrow. 
Planting hope and solace there. 

6th Girl : 

Silently our fragrance riseth, 

And like sweet incense spreadeth wide, 
Ofttimes even thus revealing 

The quiet places where we hide. 

7th Girl : 

Our messages of love and peace 
We gently whisper day by day. 

Teaching purity and goodness. 
Driving thoughts of sin away. 



50 PRACTICAL DIALOGUES 

StliGirl: 

We would point the merry children 
To the Heavenly Father above ; 

For though we neither toil nor spin 
We are the care of his great love. 

[The girls now march to center of front 
of stage where the lines meet and cross, 
those on right going to left of stage and 
those on the left going to right. Pass to 
comers, up sides, and stand, four girls at 
each end of the line of boys. Bnter four 
boys and four girls. One boy wears a red 
cap and waist ; one a cap and waist of blue ; 
one of yellow, and the other of gray or 
brown. The girls wear cheese-cloth dresses 
corresponding to the colors worn by the 
boys — one having blue, one red, and so 
on.] 

Moving the arms up and down at the 
sides to imitate flying, the birds skip twice 
around the stage, and then passing up the 
center, take the places just vacated by the 
girls. 



MOTHER nature's PARTY 51 

I St Child : 
Here come tlie birds, 

Happiness bringing ; 
Praises to Nature 

Joyfully singing. 

2d Child: 

Bright little eyes, 

All things espying ; 
Swift little wings 

Outspread for flying. 

3d Child: 

Fluffy down coats, gift of a fairy, 
Fluttering motions, graceful and airy. 

4th Child : 

Soft little nests, swaying and swinging ; 
Sweet little songs, swelling and ringing. 

5th Child : 

Frail little eggs, wonderful treasure ! 
Nestlings beloved, cared for with pleasure. 

6th Child : 

Dear little messengers, sent from above ; 
Gift of our Father, care of his love. 



52 PRACTICAL DIALOGUES 

ytli Child: 

Briglit rays of light, soaring and winging ; 
Setting all hearts attune to their singing. 

8th Child : 

And now, Nature dear, we do maintain 
That in thy courts the birdies should reign. 

All eight sing. 

Tune : " Billy Boy." 

1. Oh, are we of use. Nature dear. Nature 

dear? 

Oh, are we of use. Mother Nature ? 

Ask the farmer if you will, 

For we do the insects kill, 

And we thus save his crops from de- 
struction. 

2. Oh, are we beloved, Nature dear. Nature 

dear? 
Oh, are we beloved. Mother Nature ? 
Ask the children blithe and gay 
How the world would seem to-day 
If the birds should all suddenly cease 

singing. 



MOTHER nature's PARTY 53 

Mother Nature (rising) : 

Dear flowers, trees, and merry birds, 

What each has said is very true, 
And yet the first place in my realm 

I must deny to each of you. 
There is no first, and he lives best 

Who cheerfully his work doth do. 
We can not spare our flowers or trees, 

Those children fair, of vast estate; 
We can not spare our merry birds, 

Those creatures small whose power is 
great, 
But each must do the best you can 

To beautify this world of ours, 
And give your service willingly, 

Whether birds or trees or flowers. 

The trees, birds, and flowers now form a 
circle, and march around the stage singing. 

Tune: "America." 
I. Our land so broad and free. 
This home of flower and tree, 

Is wond'rous fair: 
Gay blossoms brightly sheen, 
Wide spread the tents of green. 



54 PRACTICAL DIALOGUES 

While swiftly o'er tlie scene 
Birds wing the air. 

2. On this glad Arbor Day 
We now to nature pay 

The homage due : 
Flower and bird and tree, 
Nature's own children free, 
Here pledge their loyalty 

And service true. 

They march from stage in single file, 
birds first, flowers next, trees third, then 
Queen Beautiful, King Useful, and lastly 
Mother Nature. 



A PICTURE GALLERY 

THANKSGIVING EXERCISE FOR SEVENTEEN 
CHILDREN 

[Across tlie stage stretch a rope or wire, 
and on it hang curtains (shawls or sheets 
may be used), as shown in the cut. Secure 
an old picture frame of good size and fit it 
with a mat (a) of white cardboard. Fasten 
the frame to a dry-goods box (the front of 
which is also covered with a drapery) so 
that it stands nearly perpendicular (the top 
of frame inclining slightly backward). 

As the poem is read by a child standing 
in front of the curtain the various characters 
come on in turn and pose in the frame, 
which should be high enough so that small 
children when standing back of it present a 
bust view ; those who are taller can kneel 
on a low box or stool. Just back of the 
frame (leaving the required passageway for 
the posers) place a black screen for a back- 
ground to the pictures. 

55 



56 PRACTICAL DIALOGUES 

By a little ingenuity tlie children can be 
"made up" to take tlie various parts with 
pleasing success.] 

Dear friends, I have some pictures here 

I 'm going to show to you. 
And though they 're not all handsome, 

The likenesses are true. 
We always meet Thanksgiving time — 

You see we 're all relation — 
To keep the day when songs of praise 

Are sung throughout our nation. 
I think Thanksgiving days are fine, 

The dinners are so good ! 
But I can't eat half the goodies 

I always wish I could. 
Though far from eloquent, I '11 now 

Proceed without more fuss 
To show the folks who 're going to spend 

Thanksgiving day with us. 

ist Picture : 

This first, of course, is grandpa. 

He 's getting rather old, 
But he knows some jolly stories. 

And he 's just as good as gold. 
He says there 's no one — rich or poor — 



A PICTURE GALLERY 57 

Unless they 're dreadful cranks, 
But wlio can find just lots of things 
For which to offer thanks. 

2d Picture : 
This is grandma, who, when young, 

Was handsome, so they say ; 
But now her face is wrinkled 

And her raven locks are gray. 
She 's always very cheerful, 

And never sad or drear. 
Because she thinks Thanksgiving time 

Should last through all the year. 

3d Picture : 
This next one is my father. 

And he 's always telling me 
How very many things I have 

For which to thankful be. 
When he was young, he had to work 

From morn till setting sun. 
And could n't spend his time in school 

Or looking after fun. 
I assure you I am thankful 

That times are changed to-day, 
For I know I 'd not enjoy it 

To have to work that way. 



58 PRACTICAL DIALOGUES 

4tli Picture : 

Now this one is my mamma, 

And she 's a darling, too ; 
You can not find her equal if 

You hunt the wide world through. 
And when Thanksgiving day comes round, 

Oh, what a feast she makes ! 
Such pumpkin pies and puddings rich, 

Such cookies, bread, and cakes ! 
I tell you I feel thankful for 

The things my mother bakes ! 

5th Picture : 

This man who looks so solemn 

Is Uncle Peter White, 
And 'cause he is a preacher. 

He always does what 's right. 
Thanksgiving day he says he hopes 

We '11 live as we should do, 
And never cease from giving thanks 

All the whole year through. 

6th Picture : 

Now this is Uncle Jerry Smith, 

With such a beaming face — 
We 'd hate to have Thanksgiving 

Without him in his place. 



A picture: gallery 59 

He tells the greatest stories 

That ever you did hear — 
Sometimes we laugh or cry, and then 

We sit and shake with fear. 

7th Picture : 

This next one is Aunt Sarah, 

Dear Uncle Jerry's wife. 
Did you ever see a picture 

Look crosser in your life ? 
That 's because she scolds so much, 

And finds fault ev'ry day. 
If I were uncle, I 'd give thanks 

If she would run away. 

8th Picture : 

And this is Aunt Priscilla, 

Descendant of that band 
Who years ago on Plymouth's shores, 

For freedom made their stand. 
She has the old-time fearlessness. 

And yet the gentle way, 
Of those who instituted 

The first Thanksgiving Day. 

9th Picture : 

This next one is my brother Joe, 
Who is so very clever. 



6o PRACTICAL DIALOGUES. 

To be our nation's president 

I think is his endeavor. 
I 'm snre I most sincerely hope 

He '11 carry out his plan, 
For I 'd like to be related 

To such a noted man. 
If he should be the president, 

With 50,000 pay. 
We folks could have Thanksgiving feasts 

For dinner ev'ry day. 

loth Picture : 

This is my big sister Mildred ; 

You ought to hear her sing ! 
She has the finest dresses, 

And wears a diamond ring. 
She does her hair up very high. 

And goes to parties fine — 
How truly thankful I should be 

If all that fun were mine. 

nth Picture : 

This is Cousin Edwin White, 
Who 's very fond of books — 

But then, I need n't tell you so, 
You 'd know it by his looks. 



A PICTURE GALLERY 6l 

He has studied lots and lots of things, 

And knows 'em all by heart ; 
I should think he 'd be real thankful 

Because he is so smart. 

1 2th Picture : 

Cousin Mary is the next, 

And she 's the queerest girl ! 
She does n't care to be fixed up, 

Or have her hair in curl. 
She has a rifle of her own. 

And fires it like a man I 
One day she saw a wild cat, 

And never even ran, but 
Killed it dead as anything ; 

She says that hunting 's fun. 
And when Thanksgiving day comes round, 

She gives thanks for her gun. 

13th Picture : 

These are our Aunt Sarah's twins, 

Le Roy and Mary Jane. 
I think they 're real nice cousins. 

Although they 're rather plain. 
Le Roy laughed, but Jane was scared 

To have her picture took, and 



62 PRACTICAL DIALOGUES. 

That 's tlie reason that she has 
That dreadful frightened look. 

They are n't so very much alike, 
Except that both are dark, 

But mamma says when they were small 
Folks could n't tell 'em 'part. 

14th Picture : 

This little pet with curly hair 

Is darling Sister Nell. 
She 's so good that we all love her 

More than we can tell. 
She 's like a dainty flower fair. 

Or ray of sunshine bright, 
And the only time she 's quiet 

Is when she 's 'sleep at night. 
When we 're counting up our blessings 

On Thanksgiving, I can tell 
That the first thing on the list 

Will be our precious Nell. 

15th Picture: 

This last one is my cousin Bess ; 

She and I are chums. 
We 're going to have a splendid time 

When Thanksgiving comes. 



A PICTURE GALLERY 63 

When they call us out to dinner, 

She '11 sit right next to me ; 
And the more good things we eat, 

The " thankfuller " we '11 be. 
Although she has a turn-up nose. 

She suits me to a T. 

And now we 're through — you 've seen 
them all — 

Just seventeen with me, 
And at our glad Thanksgiving feast 

How merry we shall be ! 
I hope that each of you, my friends. 

Will enjoy Thanksgiving too. 
But don't forget to thankful be. 

Whatever else you do. 
You know it 's just as grandpa says, 

'T is only foolish cranks 
Who can not find a host of things 

For which to offer thanks. 



BB THANKFUL 

A THANKSGIVING EXERCISE FOR TEN 
LITTLE GIRLS 

Each girl wears a white turn-down collar and wide white 
cuffs of Puritan style, and a white cardboard crown. On 
each crown is pasted a letter cut from gilt paper, the letters 
to spell " B-e T-h-a-n-k-f-u-1." 

The speakers come on in turn, one at a time, and having 
spoken remain standing in line. 

I St Girl : 
For sturdy " Pilgrim Fathers," true and 

brave, 
Who the custom of " Thanksgiving " to us 
gave. 

Oh let us all give thanks ! 
2d Girl : 

For hills and valleys, trees and lovely flow- 
ers, 

That so beautifully adorn this world of 
ours, 

(Both girls) : Oh let us all give thanks ! 

3d Girl: 
For health, that blessing we should deem 
most rare, 
64 



BE THANKFUL 65 

The gift which each should treasure with 
great care, 

(The three girls) : Oh let us all give thanks ! 

4th Girl : 

For home, the spot so dearly loved by all. 
Whether cottage, hut, or mansion tall, 
(The four girls) : Oh let us all give thanks ! 

5th Girl : 

For playmates, friends, and loving parents 

dear. 
Who make our lives so very happy here, 

(All five) : Oh let us all give thanks ! 

6th Girl : 

For dresses, cloaks, hats, mittens, capes, and 

shoes, 
And all the other garments that we use, 

(All six) : Oh let us all give thanks ! 

7th Girl : 

Knowledge is the power that surely rules, 
So for our colleges and for our schools 
(All seven) : Oh let us all give thanks ! 



66 PRACTICAL DIAI.OGUES 

StliGirl: 
Ah, there is mucii in life to make us glad, 
And for the merry, happy times we 've had 
(All eight): Oh let us all give thanks ! 

9th Girl: 

For the turkey and the feast that we 

expect 
To have Thanksgiving, let us not neglect 
(All nine) : To all give thanks. 

loth Girl : 

For " Thanksgiving time " — most welcome 

of all days, 
When cheer abounds and hearts are turned 

to praise, 

(All ten) : Oh let us all give thanks I 

(All in concert): 

There is no life, however sad or drear, 
But that some ray of sunshine comes to 

cheer ; 
Then let us gladly look to God above. 
And for these many blessings of his love 

Oh let us all give thanks ! 



PUMPKIN PIE 

A THANKSGIVING EXBRCISH FOR 
FOUR BOYS 

The boys marcli on to the stage in line, 
each carrying a small plate, on which is a 
piece of pumpkin pie. 

I St Boy : 

Have your turkey if you will. 

The largest one in town, 
Filled up with sav'ry stuffing 

And nicely roasted brown ; 
A turkey 's very good I know. 

But that for which I sigh 
Whene'er Thanksgiving day comes 'round 

Is a piece of pumpkin pie. 

(All the boys together): 
Oh, it 's mince pie, apple pie, lemon pie, and 

cherry ! 
Many kinds of pie have we on Thanksgiv- 

giving merry ! 
But give to me, I beg of you, the one for 
which I sigh, 

67 



68 PRACTICAL DIALOGUES 

The kind that beats them all, the deli- 
cious 

[Each boy takes his piece of pie up in 
his hand, holds it out toward audience, then 
takes a generous bite from it. As he eats 
it, he smiles happily.] 

2d Boy : 

Fill up on roast pig if you wish, 

Or tempting salads rare. 
And enjoy your fancy cooking 

Concocted with great care. 
Such things are good, I will admit, 

And yet it makes me cry 
If on Thanksgiving I don't get 

A piece of pumpkin pie. 

[All speak together as before, then take a 
second bite of pie.] 

3d Boy : 

Perhaps you *re fond of puddings rich, 

And many kinds of cake 
That make you have bad dreams at night, 

Or else keep you awake ; 
I, too, can eat such stuff as that 

If I 'm a mind to try. 



PUMPKIN PIE 69 

But give to me, I beg of you, 
A piece of pumpkin pie. 

[All speak together as before, and take 
a tbird bite of pie.] 

4tb Boy : 

Jelly, fruit, and plum preserves 

Are pleasing to the taste ; 
Wbile pickles, nuts, and apple sauce 

Should never go to waste ; 
But when Thanksgiving day comes 'round. 

It surely is no lie. 
That what I like the best of all 

Is a piece of pumpkin pie. 

[Speak in concert as before, then finish 
eating the pie. When it has all disap- 
peared, the boys march off waving the empty 
plates.] 



AT CHRISTMAS TIME 

AN EXERCISE FOR TEN BOYS AND 
TEN GIRLS 

Bnter four boys wearing caps and jackets 
trimmed witli evergreen, and each carrying 
an evergreen bough. 

I St Boy speaks : 

There is a certain kind of tree — 
And 't is the best of all, to me — 
That I am always glad to see. 
It is — it is — 

[All the boys in concert waving their 
boughs.] 
" The Christmas Tree ! " 

2d Boy : 

Welcome gifts for one and all, 
Presents large and presents small. 
Are on the shining branches tall 

[All the boys in concert, waving their 
branches.] 

Of the wonderful Christmas tree I 
70 



AT CHRISTMAS TIME 7 1 

3d Boy Speaks : 

Witli tinsel gay and pop com white, 
And brilliant candles gleaming bright, 
Ob what a charming, dazzling sight 

[All the boys as before.] 

Is the beautiful Christmas tree I 

4th Boy: 

To boys and girls 't is very dear. 
And since the time is drawing near 
For it to again appear, 
Oh, make it welcome while it's here, 

[All the boys as before.] 

And hurrah fod: the Christmas tree 1 

[The two boys nearest the right turn to 
the right of stage, pass up the right side, 
and halt at back of stage, standing two feet 
apart ; the other two boys face the left, pass 
up left side, and halt in line with the first 
two, also leaving a two-foot space between 
them. When the boys are in position, 
there enter four girls dressed in white, 
trimmed with holly, wearing a wreath of it 
on the head and each carrying a bunch of 



72 PRACTICAL DIALOGUES 

it. They stand in line at front of stage and 
speak.] 

ist Girl : 
What day do boys and girls like best 

Of all the days in the year ? 
What one is nicer than the rest ? 

Now speak and let me hear. 

[The other three girls in concert.] 

Oh, we can answer right away ! 
It is the welcome Christmas day. 

2d Girl : 

Why do we keep this blessed day, 
And our Christmas carols sing, 

While peace and glad good will hold sway 
As the bells their sweet chimes ring ? 

[The other girls in concert.] 

Because in Bethlehem afar 

The Wise Men, guided by the star, 

Found the Christ child where he lay 

Our Saviour, bom on Christmas day. 

3d Girl : 

What chosen garlands do we bear — 
A favorite of long ago — 



AT CHRISTMAS TIMB 73 

To deck our Christmas bowers fair 

With shining green and crimson glow ? 

[The other girls in concert.] 

The holly bright with leaves of green ? 
The holly is the Christmas queen ! 

4th Girl : 

These branches are the emblem 
Of the Christmas joy and cheer, 

And gladly now we bring them, 
For the merry day is near. 

[All four girls in concert, waving their 
branches of holly.] 
Yes, fondly do we love them, 
And wreathe our garlands of them ; 
For the holly with its leaves of green, 

The holly is our Christmas queen. 

[Two of the girls turn to right, and two 
to left, pass up the sides of stage, and take 
places in the spaces left between the boys, 
thus forming a line of eight, with the girls 
and boys alternating. Four boys then 
enter, three joining hands and walking 
abreast, the two on the outside each holding 



74 PRACTICAL DIALOGUES 

one end of a string of pop corn (popped and 
strung on stout thread), tlie middle boy 
holding a string in each hand. The fourth 
boy acts as driver, and holds the other ends 
of the strings. Starting from the center of 
back the boys prance twice around the 
stage, then come down the center to the 
front where the boys who acted as horses 
drop their ends of the strings. The driver 
pulls them up, and winds them quickly 
around his body — one twice around his 
neck and letting the ends hang, a second 
around his waist, the other two from the 
shoulders diagonally across the chest. He 
takes his place in line by the others, and 
the four boys stop in line at the front of 
the stage where they speak — the driver 
first. 

ist Boy : 

Such lots of goodies as we have 
On merry Christmas day ! 

Sometimes when we can't eat them all 
We use them for our play. 

2d Boy [who has half a dozen small pop- 
corn balls (each fastened to a string 



AT CHRISTMAS TIMK 75 

whicli was put in when the ball was 
made) pinned on the front of his jacket] : 

I like the snowy pop-corn balls ; 

They 're always nice and sweet ; 
And though I 'm fond of candy, too, 

The pop-corn can't be beat. 

3d Boy [whose jacket is decorated with 
nuts and candy hearts. The nuts can be 
strung by burning holes in them with a 
heated knitting needle] : 

The Christmas nuts and candies 

Are the goodies which I seek ; 
1 'm sure I wish that Christmas 

Would come just once a week. 

4th Boy [whose jacket is trimmed with rows 
of orange peel]: 

I agree that pop corn is good, 

And candy and all the rest ; 
But of all the Christmas goodies 

The oranges suit me best. 

The boys in concert. 

Then hurrah for merry Christmas ! 
And hurrah for the goodies, too ! 



76 PRACTICAL DIALOGUES 

Were it not for candy and sucli things, 
Whatever would children do? 

[The boys then march up sides of the 
stage, and form in line just in front of the 
eight who have spoken previously, leaving 
spaces as the first four boys did. Enter four 
girls dressed as fairies, wearing white gowns 
(short) trimmed with gilt stars, gilt crowns, 
and small white wings. Bach carries a 
wand covered with gilt paper. They skip 
twice around the stage, then form in line at 
the front, and speak. 

The four in concert. 

We are the busy fairies 

Who, by our help and cheer, 
Make the merry Christmas day, 

The best of all the year. 

I St Fairy : 

I am the fairy called " Peace," 
And sing to the world again 
The song the angels caroled. 

[Chants slowly] — 
" Peace on earth, good will to men." 



AT CHRISTMAS TIME "J^ 

2d Fairy : 

I am the fairy called " Joy," 

And bring you the gladness and cheer 
That will make the coming Christmas 

The merriest day of the year. 

3d Fairy : 

"Unselfishness" is my name, 
And I teach the world to believe 

That to give will always be found 
More blessed than to receive. 

4th Fairy : 

I am the fairy of " Song," 

And on the yule-tide days 
I tune all hearts to sing 

Glad carols and Christmas lays. 

[The fairies then pass up the sides of 
stage, and take their places in the spaces 
left by the boys on the front line. Enter 
two boys and two girls, each carrying a 
small, soft-toned bell. Forming in line at 
front of stage, they sing the following, ring- 
ing their bells softly ; those at back of stage 
all join in the singing.] 
Tune : Webb. (Found in any hymnal.) 



78 PRACTICAL DIALOGUES 

1. While Christmas bells are ringing 

O'er ev'ry land and sea, 
In peace and love abiding, 

United let us be : 
Let ev'ry heart rejoicing. 

Sing out in glad refrain, 
While 'Christmas bells are ringing 

Peace and good will to men. 

2. While Christmas bells are ringing 

We lay all cares aside, 
And to their merry chiming 

Enjoy the Christmas tide : 
Let ev'ry heart awaking, 

The season's carols sing. 
In peace and love abiding. 

While loud the glad bells ring. 

The four at front of stage now pass up 
the sides, and halt just in front of the other 
two lines. The children now have the posi- 
tions as shown in the following diagram : — 





G B G B G 


B 


G B 






B G B G B 


G 


B G 


d 




G B G 

Front. 


B 




:^ 



AT CHRISTMAS TIME 79 

A lively marcli is tlien played, and the 
boy at tlie left corner of back leads the line 
down the left side of stage, those on the sec- 
ond line facing the right, and following those 
on the back line, those on the front line fac- 
ing the left and following those on the sec- 
ond line. The file passes once around the 
stage, then starting from left corner of 
back forms a — 



8o PRACTICAL DIALOGUES 

then starting again from left corner (back) 
marches thus : — 






^x 



y^ 



<. 

s ^ 



s. 

V. 






Starting again from left corner (back), 
forms a — 



i \i \ 

i \ i 



AT CHRISTMAS TIME 8 1 

and then marclies down tHe center; boys 
turn to right, and girls to left, pass around 
and form couples at back of stage. March 
down center in couples, and then off of 
stage. 



WATCHING FOR SANTA 

A CHRISTMAS EXERCISK FOR TWO LITTLE 

GIRLS 

Bach little girl has on a long, white nightgown, and tiny 
white nightcap. 

ist Girl: 

Two little maids — brave maids — are we, 
Filled to the brim with joyous glee, 

And this is the reason why : 
From our beds we 've slipped away, 
And by the fireplace we shall stay. 
And there — one maid on either side — 
From Santa Claus we 're going to hide — 

'Cause he 's coming by and by. 

2d Girl : 

We 've never seen old Santa Claus ; 
The reason why is just because 
He 's so very, very shy ; 
I guess he 's 'fraid of girls and boys. 
Because he always brings their toys 
Way in the middle of the night, 
And keeps from ev'rybody's sight — 
And he 's coming by and by. 
82 



WATCHING FOR SANTA 83 

ist Girl : 

We 've hung our stockings up — two pair, 
And we are going to stay right there 

To watch him on the sly ; 
When they are full from top to toe, 
Why, then, we're going to jump out — so, 

[Step forward qiiickly] 

And laugh at Santa Claus, and say. 
We 've got you now, and you must stay, — 
Yes, we '11 catch him by and by. 

2d Girl : 

We '11 ask him just the mostest things, 
' Bout where he gets the gifts he brings 

With his reindeer white and spry ; 
On dear old Santa's lap we '11 climb. 
And won't we have a jolly time ? 
But I am sleepy, — that is, some, — 
I wish he 'd hurry up and come. 

And not wait till by and by. 

[They go off rubbing their eyes sleepily.] 



SUNFLOWER MARCH AND DRILL 

FOR SIX GIRLS 

Costume: Dress of green cheese-cloth, made with close- 
fitting waist and scant, plain skirt ; tight-fitting hood of 
green cheese-cloth which fits close around the face, fastens 
under the chin, and has several rows of yellow tissue paper 
petals turning back from the face of hood to form a sun- 
flower. The ties of the hood should be of yellow cheese- 
cloth, one third of a yard wide, and when tied in a bow 
(with short loops), the ends should reach nearly to the 
knees. The face must be blackened, and no hair allowed to 
show beneath the hood. Be careful to sew the paper petals 
clear around the face of the hood so that the rows meet 
under the chin and leave no break or gap. 

Music: Any March. 

Tlie girls enter at back of stage, marcli 
down right side, across front, up left side, 
across to center of back, then down center 
of stage, having line in single file. At 
front of stage Nos. i, 3, 5, turn to the right, 
Nos. 2, 4, 6, to the left, pass to front cor- 
ners of stage, up the sides, and meet at center 
of back where they form couples. Couples 
march to center of front where Nos. i, 3, 
5, again turn to right and Nos. 2, 4, 6, to 
left; pass around stage as before and on 
84 



SUNFLOWER MARCH AND DRILL 85 

reacliing the center of back, No. i marches 
alone down the center, Nos. 2 and 3 form 
a couple and Nos. 4, 5, 6, a trio thus: — 

546 
3 2 



On reaching front of stage, Nos. i, 3, 5, 
turn to right and Nos. 2, 4, 6, to the left, 
march around, and forming a straight line 
at back of stage, march to the front, six 
abreast. At front of stage Nos. i, 3, 5, face 
the left, march to left comer of front, up 
left side ; Nos. 2, 4, 6 face the right, pass to 
right corner, and up right side. At back of 
stage they form two lines, Nos. i, 3, 5, on 
first, Nos. 2, 4, 6, on second, march to front 
of stage, and halt. 

Taking a bonnet string in each hand 
(holding it at the end), take position with 
the hands in the hollow of shoulders, and 
give the following movements : — 

a. Right hand out at side, arm's length, 
and back four times. 

b. L^ft hand the same. 



86 PRACTICAL DIALOGUES 

c. Both hands extended at sides, arm's 
length, and back four times. 

d. Alternate hands twice. 

e. The right hand extended at side, then 
as it is brought back to position, the left 
is extended, and vice versa eight times. 

f. Right hand extended in front of body, 
arm's length, and back four times. 

g. Left hand the same. 

h. Both hands out in front and back four 
times. 

i. Alternate hands twice. 

j. Right hand out in front, then as it is 
brought back, the left is extended, and vice 
versa eight times. 

k. Right hand out at side once. 

1. Left hand the same. 

m. Right hand out in front once. 

n. Left hand the same. 

o. Both hands out at sides once. 

p. Both hands out in front once. 

EXERCISE II. 

a. Right hand up above head, arm's length, 
and back four times. 

b. Left hand the same. 



SUNFLOWER MARCH AND DRILL 87 

c. Botli hands tip above liead four times. 

d. Alternate hands twice. 

e. Right hand up above head, and as it is 
brought back, the left is raised, and vice 
versa eight times. 

f. Right hand down at side, arm's length, 
and back four times. 

g. Left hand the same. 

h. Both hands four times. 

i. Alternate hands twice. 

j. Right hand down at side, and as it is 
brought back, the left is lowered, and vice 
versa eight times. 

k. Right hand above head once. 

1. Left hand the same. 

m. Right hand down at side once. 

n. Left hand the same. 

o. Both hands above head once. 

p. Both hands down at side once. 

KXKRCISK III. 

a. With right foot step obliquely to the 
right, and extend right hand obliquely in 
same direction four times. 

b. Left hand and foot the same. 



88 PRACTICAL DIALOGUES 

c. Riglit hand extended and laid on tlie 
shoulder of the girl at the right, where it 
rests during four measures of music. 

d. Left hand the same on shoulder of 
girl at left. 

e. Bach girl clasps her hands above her 
head, and holds them during four measures. 

f. Each girl raises arms obliquely, and 
joining hands with the girl on each side, 
forms A's. Hold during four measures. 

g. Extending arms horizontally at sides, 
rotate bodies four times, swinging on the 
right foot as pivot. 

h. The same as g, except rotate in oppo- 
site direction. 

i. With No. 2 as leader the back line 
faces the left, and marches in front of No. 5, 
back of No. 3, in front of No. i, and returns 
to places. 

j. With No. I as leader the front line 
faces the right, marches back of No. 6, in 
front of No. 4, back of No. 2, and returns to 
places. 

Drop bonnet strings and begin the clos- 
ing march. Nos. i, 3, and 5 pass to right 
corner of stage and up the right side ; Nos. 



SUNFLOWER MARCH AND DRILL 89 

2, 4, and 6 pass to left corner and up left 
side; both lines then face the center of 
stage, and advance in two lines, three 
abreast. On meeting at center of stage 
march backward to places at sides, then 
advance again toward center, and on meet- 
ing the lines pass each other, — No. i going 
to left of No. 2, No. 3 going between Nos. 
2 and 4, No. 5 between Nos. 4 and 6, — 
those from the right going to left side of 
stage, and vice versa. On reaching sides of 
stage face the back, march to comers of 
back, and meet in couples at the C. March 
down to front in couples, where Nos. i, 3, 
and 5 turn to the left, Nos. 2, 4, and 6 to 
the right, and march as per illustration on 
next page. 



90 



PRACTICAL DIALOGUES 



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On reacliing tlie left corner of back of 
stage, Nos. i, 3, 5, exeunt, .while Nos. 2, 4, 
6, marcli off at tlie right corner. 



BO-PBEP AND BOY-BLUB MARCH 

Characters : Six girls representing Bo-Peep and six boys 
representing Boy-Blue. 

Costumes : Girls wear blue dresses, white aprons, large 
hats, and each carries a shepherd's crook ; boys wear blue 
trousers and short blue jackets, white waists and small blue 
caps. Each carries a tin horn. 

Music : Any March. 

The first girl enters alone, marches 
around the stage, looking on all sides as if 
to find her sheep, then drops on the floor at 
back of stage, and goes to sleep. The sec- 
ond girl then enters and does the same, 
followed by the third girl, and so on until 
all are in line across back of stage, fast 
asleep. The first boy then enters, and pass- 
ing to front of stage, blows a loud blast on 
his horn, whereupon the second boy enters, 
takes his place beside No. i, and blows his 
horn to call in No. 3. In this manner the 
six boys form in line at the front of stage. 
When all are in place, the first three boys 
face the left, the last three the right, and 
march thus : — 

91 



92 PRACTICAL DIALOGUES 



.@...^..^ 0...^...^.. 






t» Ui-.. 



r t' 

As the lines start to marcli, No. i blows 
his horn and No. 6 answers it; as they 
meet at center of stage, they do the same. 
At the back of stage boys form in line 
back of the girls who lie there asleep. 

No. I (speaking) : 
Little Bo-Peep has lost her sheep, 

And don't know where to find them. 

The other boys (in concert) : 

If she leaves them alone, they '11 all come 
home, 
Wagging their tails behind them. 



BO-PEEP AND BOY-BLUE MARCH 93 

No. I : 

Little Bo-Peep lias gone to sleep, 
And thinks slie hears them bleating. 

The others: 

We 're sorry to state it 's all a fake, 
Only a dream so fleeting. 

No. i: 

She must take up her pretty crook, 
And sally forth to find them. 

The others : 

For they 're having a picnic by the brook. 
Wagging their tails behind them. 

The boys then blow their horns in con- 
cert, a short blast and then a long one, and 
the girls sit up quickly, rub their eyes, and 
rise. The two nearest the center march 
halfway to front of stage, halt, face each 
other, and raising their crooks have them 
meet in a A ; the next two do the same, 
standing beside the others ; the last two 
follow, and when the six girls are in line, the 
boys, Nos. I, 2, 3, going first and Nos. 4, 5, 
6, following, march in single file down the 



94 PRACTICAL DIALOGUES. 

center of stage, passing nnder the upraised 
crooks. On reaching the front of stage the 
line turns to the right, passes up the right 
side, faces left of stage, and halts. The 
girls, still keeping the crooks raised, march 
in couples to front of stage and turn to 
the left. At the left corner the girl on the 
inside steps back of her partner, thus form- 
ing a single file, which passes up left side, 
faces the right, and halts. 

No. I then blows his horn, he and the 
girl opposite him advance to the center, 
bow, and march together toward the front, 
where they turn to the right. As soon as 
No. I starts to march, No. 2 blows his horn, 
and he and the girl opposite him advance to 
center, and follow the first couple. Bach 
boy in turn does the same, each blowing 
his horn as soon as the boy on his left 
starts to march. At the right corner of 
back each boy steps behind the girl with 
whom he is marching, and takes his place 
on the other side of her. At the left corner 
of back they again change sides, the girls 
stepping in front of the boys. The lines 
march thus twice around the stage, alter- 



BO-PEEP AND BOY-BLUE MARCH 



95 



nating on every comer. Then, from tHe 
center of back they march to center of 
front in couples, where the boys turn to 
right, the girls to left, pass up the sides of 
stage, and from the corners of back march 
in diagonal lines to center of stage, where 
they form a wheel, and rotate four times, as 
follows : — 



,- — "~^---.. 


X .-'— -, w 


■ rp^,\ 


^ U^-^d^J / 


\ ,©■*-•©-. / 


(Sr --^.^ " -0 


^-.... ..-^' 


P~ -R o /A T 



After rotating, the boys march in single 
file to left comer (front), up left side, across 
the back, where they drop to the floor and 
simulate sleep. The girls pass to right cor- 



96 PRACTICAL DIALOGUES. 

ner (front), and form in line across front of 
stage, wliere they give tlie following drill : — 

No. I. — Holding the crook in riglit hand, 
extend the arm straight up from shoulder 
(the bottom of crook pointing up), then step 
forward on right foot, and move crook until 
it is held at arm's length obliquely in front 
of body, and lastly drop arm at side so that 
crook rests on the floor. Repeat three times. 
[Each position takes one measure of music, 
the crook being moved on the first beat, and 
held in position the other three.] 

No. 2. — Same with crook in left hand. 

No. 3. — Grasping the crook at each end, 
hold it horizontally at arm's length above the 
head ; lower until just below the chin (still 
held horizontally) ; lower till even with 
waist line. Repeat three times. 

No. 4. — Hold crook as in No. 3, then lower 
it back of the head until on line with the 
shoulders. Repeat three times. 

No. 5. — Face the right, raise crook in 
right hand, and hold it in an oblique line 
from the shoulder; face front, and hold 
crook as in right face; face the left. Re- 
peat three times. 



BO-PEEP AND BOY-BLUE MARCH 97 

No. 6. — Rest crooks horizontally across 
the right shoulder, the lower end pointed to 
the back. Hold during three measures. 

No. 7. — The first three girls hold their 
crooks to form a A, the second girl hold- 
ing hers horizontally just below her chin, 
the other two raising theirs obliquely. The 
other three girls form a second A in the 
same manner. Hold during three meas- 
ures. 

No. 8. — Same as No. 7, except that girls 
kneel. 

No. 9. — Each lot of three holds crooks 
to form a group, and keeps them in position 
during three measures. 

No. 10. — Form a circle, raise crooks ob- 
liquely, and hold them so that the upraised 
ends all meet at the central point above the 
circle. Rotate twice. 

The girls then march up the side of stage, 
and form a straight line across the back, 
just behind the boys who lie there, asleep. 

I St Girl (speaks): 

Little Boy-Blue is fast asleep. 

Forgotten now is his signal horn ; 



98 PRACTICAL DIALOGUKS 

The other girls (in concert): 

While all unwatched the eager cows 
Are feasting on the golden com. 

ist Girl : 

Little Boy-Blue, come blow your horn ; 
Wake from your slumbers soft and deep. 

The others : 

Hasten to save the ripening corn — 

Drive from the meadows the wand'ring 
sheep. 

The first girl gives three loud, quick raps 
with her crook, which are answered by three 
similar ones by the last girl in the line. 
Bach girl thereupon gives the boy in front 
of her a sharp punch with her crook. The 
boys wake up quickly, rub their eyes, then 
the first boy gives a loud toot, which is 
answered by the other five in concert, and 
all rise. The girls face the left of stage, 
the boys the right; the first boy blows a 
blast, which is answered by toots from the 
other boys and three sharp, quick raps with 
their crooks by the girls. They then start 



BO-PKBP AND BOY-BLUB MARCH 99 

to marcH, the boys going down right side 
of stage, the girls down the left. On 
reaching the center of sides, the lines march 
to the center of the stage, form couples, 
pass to front where the lines cross, and the 
girls march to the right while the boys go 
to the left. March up sides to center, then 
turn and pass to center of stage, form 
couples, and proceed to the back of stage, 
then to right comer, where they exeunt. 
As each couple leaves the stage, the boy 
blows his horn. 



^»Q, 



BUTTERFLY DRILL 

FOR BIGHT LITTLE GIRLS 

Costumes : Two girls wear white gowns; two pale yel- 
low; two orange with black spots; and two brown with gilt 
spots, white ruflfle around the neck and band of white 
around bottom of skirt. The gowns should be made of 
cheese cloth, cut Mother Hubbard, and be very full, having 
at least nine widths (of the narrow cheese cloth) in the 
skirt. Have a turn-back ruffle four inches wide around 
neck; the sleeves should be a full puflf reaching to the 
elbow. Gowns should be short — reaching only to the 
knees. Each girl wears a butterfly bow in her hair, and 
has wings (of cheese cloth the color of her gown and 
edged with wire to stiffen them) which stand about three 
inches higher than the shoulders. 

Music : A bright, lively Marcli. 

Girls enter in single file and skip twice 
around stage, holding skirts slightly raised 
with the right hand ; then form in line at 
back of stage thus : — 

87654321 

xxxxxxxx 

Nos. I and 8 start at the same time, No. 

I going back of 2, front of 3, and back of 4 ; 

No. 8 going back of 7, front of 6, and back 

of 5 ; they meet and march together between 



BUTTERFLY DRILL lOI 

Nos. 4 and 5. No. 7 follows No. 8 ; No 6. 
follows 7, and No. 5 follows 6. No. 2 fol- 
lows No. I ; No. 3 follows 2, and No. 4 fol- 
lows 3. Nos. I and 8 lead tlie line (the 
others following in couples as they meet at 
center between Nos. 4 and 5) down the stage 
to center of front where Nos. i, 2, 3, 4, turn 
to the left and Nos. 5, 6, 7, 8 to the right. 
March to right and left corners of stage, up 
the sides, and meet at center of back, where 
the lines cross — those on the left stepping 
ahead of those on the right as the couples 
meet. March in couples to front of stage, 
then turn to right, pass to right corner, up 
right side, across back, down left side and 
to center of front ; but as they thus make 
the circuit of the stage, Nos. 8, 7, 6, 5, stop 
in places, as shown in following diagram, 
while Nos. i, 2, 3, 4, march on in single 
file: — 




I02 PRACTlCAIv DIALOGUES 

When all are in place (No. i being the 
last to reach her position), Nos. 4 and 5 
advance to the center and back to their 
places (skipping to the music, and holding 
skirts out at side in right hands), thus : — 




As Nos. 4 and 5 return to places, Nos. 2 
and 7 advance and return the same way ; 
then Nos. 3 and 6 ; lastly Nos. i and 8. 
Then all eight advance to center, form a cir- 
cle, skip once around the circle and back to 
places ; advance again to center, and as they 
form a circle, Nos. i and 8 change places, 



BUTTERFLY DRILL I03 

also Nos. 6 and 7, so that all stand tlius: — 




With 4 and 5 as leaders, all march — 



I04 PRACTICAL DIALOGUES 

When all have reached places in the line 
across the stage, the girls join hands (rais- 
ing them above heads), and march to the 
front, eight abreast. Standing in line at 
front, they now pose as follows : — 

I. — Face the right, raise the dress in right 
hand, extend the arm ont in front, and hold 
the hand jnst back of, and even with the top 
of, the head of the girl ahead. 

2. — Drop the right hand, raise the dress 
with the left hand, extend arm in front, and 
hold hand just below the face of the girl 
ahead. 

3. — Face the front, move back into a A 
so there will be sufficient room, grasp the 
skirt with both hands (taking hold well 
toward the back), and raise the arms above 
heads, all joining hands. Then come back 
into line at front. 

4. — Same as No. i, except that they face 
the left and raise dress in left hand. 

5. — Same as No. 2, except that the dress 
is raised in the right hand. 

6. — Face the right. Kneel. Raise the 
dress as in No. i. 

7. — Raise dress as in No. 2. 



BUTTERFLY DRILL I05 

8. — Face tlie front (still kneeling), raise 
dress in both hands (extending arms above 
the head), and all join hands. In this the 
girls remain close together, not spreading 
apart as in No. 3. 

9. — Face the left, and raise dress as in 
No. 4. 

10.^ Raise dress as in No. 5. 

II. — Face the front. Rise. Curve the 
right arm over the top of the head, raise the 
skirt in the left hand until it meets the right 
hand, then grasp the skirt with the right 
hand (where it was held by the left), and 
drop the left hand at side. 

12. — Stand thus : — 

3456 

X X X X 

XXX 

X 

Nos. 3, 4, 5, and 6 raise dresses in both 
hands (taking hold near the back), and then 
have hands meet above the head. No. i 
stands between Nos. 2 and 7, who join hands 
above her head (raising skirts with the 
hands that meet). 



Io6 PRACTICAL DIALOGUES 

No. 8 kneels in front of No. i, and raises 

her skirt at sides with eacli hand. No. i 

raises her skirt with each hand, and then 

clasps her hands above the head of No. 8. 

13. — Form a V, thus: — 

4 X 5 X 

3 X 6 X 

2 X 7 X 

8 X 

I X 

No. 8 kneels and holds her skirts as in 
No. 12. 

No. I holds her skirts out at each side. 
Nos. 5, 6, 7, raise their skirts in left hand, 
holding them high. Nos. 2, 3, 4, raise 
skirts in right hand. 

14. — Stand in straight line down the cen- 
ter of stage, No. 5 at back and No. 8 at 
front. Raise skirt in both hands, and then 
wave it back and forth, keeping time to the 
music. 

15. — Stand as in No. 14, and face back in- 
stead of front of stage. Move skirts back 
and forth as in No. 14. 

They now begin to March, Nos. i, 2, 3, 
4, turning to the left, and Nos. 5, 6, 7, 8, to 



BUTTERFLY DRILL I07 

the right of stage (each girl marching up 
to center of back before she turns), and con- 
tinue as follows: — 



On reaching the back of stage, they form 
a line, and march eight abreast to the cen- 
ter of stage, where they stop. 

All recite in concert: — 

Eight little butterflies 

Looking up to heaven ; 
One runs away and hides, 

Then there are seven. 



Io8 PRACTICAL BIALOGUKS 

Grasping the skirt, the right hand is 
raised above the head, and the face turned 
upward. At the word '' One," No. 5 starts 
and skips from stage. Those left recite : — 

Seven little butterflies 

Playing foolish tricks ; 
One runs to find her mate, 

Then there are six. 

Raising the skirt with the left hand, the 
right hand is waved at audience. At the 
word " One," No. 4 skips from stage. Then 
rest recite : — 

Six little butterflies 

Wish they were n't alive ; 
One goes to drown herself. 

Then there are five. 

They lean heads on right hands, and 
look sorrowful. At the word " One," No. 6 
skips from stage. The others then recite : — 

Five little butterflies 

Wish that there were more ; 

One goes to call their friends, 
Then there are four. 



BUTTERFLY DRILL 109 

They nod heads and make gestures as if 
talking. At the word " One," No. 3 skips 
from stage. The four girls who have now 
left the stage stand at one side and recite : — 

Four little butterflies, 

Proud as they can be ; 
One falls down and breaks her crown 

Then there are three. 

They march around in a small circle, 
walking with mincing steps, tossing their 
heads and swinging skirts. At the word 
" Falls," No. 7 falls down, and remains lying 
there. The others return to their places. 
The four girls at side of stage recite : — 

Three little butterflies 

Love each other true ; 
One gets cross and will not play, 

Then there are two. 

The three girls put their arms around 
each other, and tip their heads together. 
At the word *' One." No. 2 puts her arm up 
over her face, and skips from stage. The 
other two keep their arms around each 
other. The four girls recite : — 



no PRACTICAL DIALOGUES 

Two little butterflies 

Dancing in tlie sun ; 
One gets tired and flies away, 

Then there is one. 

The two girls join hands and dance ; at 
the word " One," No. 8 skips from stage, 
waving arms up and down at sides to imi- 
tate flying. Those at side of stage recite : — 

One little butterfly 

Can't have any fun ; 
A naughty boy catches her, 

Then there are none. 

At the word "A," a tall boy in knee 
trousers, blouse waist, and large straw hat, 
comes on to stage, chases No. i several 
times around the platform, then catches her 
and carries her from the stage. 

Curtain. 



THE TEA-PARTY 

[A scenic reading, to be acted by nine 
little girls as tbe poem is read by tbe teaclier 
or one of the pupils. One girl is dressed 
as a maid, wearing cap and apron. The 
seven visitors wear jackets, long skirts, and 
bonnets, keeping their wraps on during the 
party. Mrs. Brown and each visitor has a 
dolly. At back of stage have a tiny table 
and tea set. Mrs. B. pours the tea, and 
Katie passes a cup to each guest, then 
passes a plate of cake, cut in tiny pieces. 
Have a march played softly, and in all their 
movements the girls keep time to the music. 
Mrs. Brown and Katie on stage as poem 
begins.] 

1. Once Mrs. Brown decided that 
She 'd ask her friends in for a chat, 
To talk up fashion's last decree. 
And have a cheering cup of tea. 

2. Just at five by the tall town clock. 
There came a gentle little knock, 



112 PRACTICAL DIALOGUES 

And Katie showed in Mrs. Gray, 
And Mrs. Jones from o'er tlie way. 

3. Then Mrs. Arabella White, 

Who said teas were her chief delight, 
And Mrs. Jennie Vere de Vere, 
Qnite shortly after did appear. 

4. Scarce had they each been showed a 

chair, 
When Madams Smith and Green were 

there ; 
And then, as she was sure to do. 
The last of all came Mrs. Drew. 

5. As Mrs. Brown thought children ought 
To go to teas and there be taught 

Just how to act and what to say. 
And be brought up the proper way, 

6. Kach mamma brought her darling fair ; 
And when all guests at last were there, 
The hostess with a beaming face ^ 
Beside the teacups took her place. 

7. Then merrily all tongues did fly. 
As each guest anxiously did try 
To give the choicest bit of news, 
Or latest style in dress or shoes. 



THE TEA-PARTY II3 

8. THey talked of science and of arts, 
Of wedding bells and broken hearts, 
Of what had passed and what would be ; 
The while they sipped their fragrant 

tea. 

9. They said the cake was very good. 
And praised it as of course they should ; 
They talked about their homes and 

work, 
And how their hired girls liked to 
shirk. 

10. Then Mrs. Jones told with great zeal 
How her last hired girl would steal, 
And how at length she ran away 
To wed the grocer's clerk one day. 

11. They talked about their children fair, 
What they should eat and what should 

wear. 
And of how scared the Drews had been 
When Nellie swallowed that brass pin. 

12. But all good times must end, you know. 
And soon the ladies had to go ; 
While all did heartily agree 

They ne'er had known a nicer tea. 
s 



114 



PRACTICAL DIALOGUES 



During the reading the girls sit in chairs 
arranged four on each side of a table on 
back of stage in slightly circular form. 

No. I represents Mrs. Brown ; the others 
the guests as they arrive. As the reading 
is finished, the girls, each carrying her dolly 
on the left arm, march as follows : — 



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T A £> L C 



© 



© 



© 



. ©^ 



/ 



\ • 



R O 'H T 



THE TEA-PARTY 



115 



Nos. 2, 3,4, follow No. I as leader ; Nos. 
6, 7, 8, follow No. 5 as leader. As Nos. i 
and 5 meet at table after forming the two I^s 
marcli down the center (each girl on the 
right line stepping ahead of corresponding 
girl on left), in single file. At front of 
stage, Nos. i, 2, 3, 4, turn to the right, Nos. 
5, 6, 7, 8, to the left, and form a line thus : — 
12348765 
xxxxxxxx 

They now sing the following song (march 
changes to air of the song), the seven guests 
singing the first four lines of the first 
stanza, and Mrs. Brown the last four. The 
other stanzas all sing together. 

-I 



mr^^'^.'^i J- ;#-^-?-rT^^ 



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j/^-^gg c ri^'-^^i'^'^j'^ 



ff ff r f g g r IJ^^j^ .^ ,r^ h^ ^ 



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Il6 PRACTICAL DIALOGUES ' 

1. It was a very pleasant tea, 
Yes, just as nice as it could be ; 
And to our hostess we would say, 
" We 've liad a lovely time to-day." 

[Mrs. Brown.] 

Thank you. kind friends, for what you 

say, 
And you must come again, I pray ; 
But don't forget the children dear, 
I always love to have them here. 

2. Our darling pets are very fair, 

[Hold dolls out at arm's length in front 
of bodies.] 

With laughing eyes and bonny hair ; 
But better still they 're very good, 
Behaving just as nice girls should. 

[Pat dolls lovingly.] 

So when we take them out to tea. 
They never make us 'shamed, you see ; 
But sit as still as little mice — 
Oh, yes, our pets are very nice ! 

3. But now their eyelids downward creep, 
[Rock dolls in arms.] 



THK TEA-PARTY II7 

Our darlings soon will be asleep ; 

In slumber town 'neatb dreamland tree, 

Our precious babies soon will be, 

So now farewell jwe all must say. 

Quickly we each must hasten 'way ; 

[Singing softly.] 

Ah, yes, indeed, they're all asleep, 
[Shake fingers at audience.] 
And very quiet we must keep. 

Music changes to a march, Mrs. B. takes 
her place in the center of stage, and the 
others march past her, shaking her hand 
and bowing as they pass her. The guests 
leave stage at one side, and Mrs. B. at the 
opposite side. In marching off the dolls 
are carried on the left arm. 



LUCK AT LAST 

A SHADOW PANTOMIME 

To be acted behind a curtain as tbe poem 
is read. Tbe curtain sbould be of thin, 
white muslin, tightly stretched and tacked 
to the floor at the bottom to keep it from 
moving. Characters must keep close to the 
curtain, and present a profile view. Have 
no light in front of curtain, and a strong 
one at the center of back of stage. 

SCENE I. 

[Mr. and Mrs. Jones and Bessie sitting in 
line; Mrs. J. knitting, Bessie sewing, and 
Mr. J. reading. Mr. and Mrs. J. dressed 
to represent old people.] 

I. The room was cheerful and cozy, 

A blazing fire burned warm and 
bright, 
As Bessie Jones sat in their home, 
With her father and mother one 
night. 

ii8 



LUCK AT LAST II9 

2. Bess was tlie pride of her parents, 

And they watched her with jealous 
eye; 
Young men found no chance to woo her, 
No matter how hard they might try. 

3. So when at the door came a knock, 

Bessie's father began to frown. 
And when Pete Jefferson entered 

Quite coldly they bade him sit down. 

[Peter takes a chair next to Mr. J., while 
Bess sits between her father and mother.] 

4. Then drew his chair closer to Bess, 

As if to shield her from harm. 
And began to talk to Pete 
Of his stock, his crops, and his farm. 

5. Soon as the father ceased talking, 

The mother began on the weather. 
And for nigh on to half an hour. 
She and Pete discussed it together. 

6. The clock struck eight, nine, and ten. 

But Pete was no faint-hearted beau ; 
He stayed till the old folks began 
To impatiently wish he would go. 



I20 PRACTICAL DIALOGUES 

7. At last the old man grew sleepy, 

Tlien commenced to dream and to 
snore, 
While the mother tried to keep watch 
And longingly looked at the door. 

8. At length her tired eyes had to close ; 

She nodded and went fast asleep, 
Unmindful of danger to Bess, 

Forgetting the watch she should 
keep. 

9. When Pete found the coast to be clear. 

Quite softly he picked up his chair, 
And slipping it over by Bessie, 
Contentedly sat himself there. 

[He moves his chair in front of the father, 
sits by Bess, and takes her hand.] 

10. Of the weather, the crops, or the farm, 

Not a word had either to say, 
But talked of the raptures of love. 
In a dreadfully plain-spoken way. 

11. Their thoughts soared blissfully off 

To some love enchanted sphere, 

And spooning they ceased to be wise. 

Forgetting that danger was near. 



LUCK AT LAST 121 

12. The motlier awoke witli a start^ 

Looked about in greatest surprise, 
Then with horror beheld the scene, 
And could scarcely believe her eyes. 

13. She saw the long stove-poker near, 

And snatching it up at once. 
She softly reached across 
And gave her husband a punch. 

14. He, too, awoke with a start. 

Quickly wond'ring what it could 
mean. 
Then glancing at Peter and Bess, 
He took in the terrible scene. 

15. Giving a loud howl of rage, he 

Excitedly leaped from his chair. 
And making a quick dive for Pete 
He fastened both hands in his hair. 
[Shakes Peter.] 

16. Poor Bessie got down on her knees, 

And begged her father to stop. 
But he pushed her back in her chair. 
And fiercely declared he would not. 



122 PRACTICAL DIALOGUES 

17. Then quickly lie kicked Peter out, 

And tossed his hat out of the door, 
While Bessie wept in despair, 

And sank with a moan to the floor. 

Curtain. 

SCENE II. 

[Peter alone on the stage.] 

1. Underneath the leafy branches 

Of an oak one moonlight night, 
Peter watched with lonely patience 
Till Miss Bessie came in sight. 

2. There they held a secret meeting. 

Vowing vows as lovers do, 
Pledging love to last forever, 
Swearing to be always true. 

3. Peter said, in saddest accents, 

" Darling, I must go away ; 
Your parents ne 'er will let us wed 
Until I come back rich some day. 

4. " So I 'm going off to Klondike, 

Where, although it 's drear and cold. 
Men can quickly make a fortune 
Digging out the shining gold." 



LUCK AT LAST 1 23 

5. Bessie, as she wept in anguish, 

Said she would wait and e 'er be true, 
Vowing by the stars above her — 
As a maid is apt to do. 

6. Then they said a fond farewell, 

'Neath the moon's pale rays of light, 
And with ardent, longing glances 
Watched each other out of sight. 

[One walks backward in each direction, 
throwing kisses until out of sight.] 

Curtain. 

SCENE III. 

[Peter, dressed as a miner, on stage with 
pickax.] 

1. Far, far away in the Klondike, 

Where frozen and hard is the 

ground ; 
Mid mountains of snow and ice, 

'Tis now that our brave Pete is 

found. 

2. 'Tis true that he looks rather rough. 

And his whiskers are dreadfully 
long. 



124 PRACTICAL DIALOGUES 

But his size is quite largely due 
To the number of coats lie has on. 

3. As he pounds away one cold day, 

With mercury forty below, 
He hopes that he may strike it rich. 
And wonders how soon he '11 do so. 

4. As his blows cause the frozen earth 

To crumble and fall apart, 
Pete suddenly sees something there 
That gives him a terrible start. 

5. He quickly examines the ground, 

Then digs away as before. 
But presently pauses again 
To examine the rock and ore. 

6. He gets so excited and warm, 

He hastily pulls off a coat, 
And after a few more blows, 
Jerks the big scarf from off his 
throat. 

7. Whack ! whack ! fall his blows thick 

and fast. 
There, another nugget is found ! 
And growing the yet more enthused 
Another coat goes to the ground. 



LUCK AT LAST 1 25 

8. Then kneeling upon the ground, 

He murmurs, " I 've struck it, I 
guess ; 
I 'm surely a rich man at last, 
And I 'm going home to find Bess." 

Curtain. 

SCKNB IV. 

[Mr. and Mrs. Jones and Bessie as in first 
scene.] 

1. As Bessie sat sadly one night, 

Thinking of Pete o'er and o'er. 
While it seemed that her heart would 

break. 
There came a loud knock at the 

door. 

2. Then in rushed a gallant young man. 

Dragging in each hand a sack. 
And dashing them on to the floor, 
He cried, "Now what think you of 
that?" 

[Peter is followed by the minister with 
his book and a servant with the wedding 
cake.] 



126 PRACTICAL DIALOGUES 

3. Happy Bessie gave one low cry, 

And into her lover's arms flew ; 
While the old folks looked at the gold, 
Too pleased to know what to do. 

4. " I 've brought the parson along," 

Cried Pete, " so there 's no need to 
wait; 
As soon as we get the knot tied, 

We'll eat up this great wedding 
cake." 

5. Without any further delay 

The wedding began then and there, 
And the parson proceeded at once 
To tie up the happy young pair. 

[They form in line, Peter holding Bes- 
sie's hand, the father and mother on the 
right, each holding a bag of gold ; the min- 
ister is next to Bessie, and back of him the 
servant with the cake.] 

Curtain. 



THE MEETING OF THE GHOSTS 

Characters : Mrs. Page, Uncle Thomas, Raymond and 
Jacob, Belle and her Cousin Frances. 

Scene takes place in the sitting-room of 
the Page family. At the back of the room 
is a couch and at one side a stand with a 
lighted lamp. (If the dialogue is given in 
the afternoon, the room can be darkened by 
hanging shawls at the windows.) Belle 
and Frances on stage. 

Belle. — Frances, don't you just delight 
in ghosts ? I read every ghost story I can 
find. How I wish I could see a real, live 
ghost ! 

Frances. — So do I — it would be so inter- 
esting ; but do you really believe there are 
ghosts ? 

Belle. — Oh, no, of course not, but I wish 
there were. I 'm sure ^I should not be 
afraid to meet one. [Enter Mrs. Page.] 

Mrs. Page. — Belle, I'm going over to 
Mrs. Wright's to spend the evening. You 

127 



125 PRACTICAL DIALOGUES 

girls won't be afraid will you ? The boys 
will be borne soon. 

Belle. — Oh, no, mamma, not at all. 
[Exit Mrs. Page.] 

Frances. — What would you do, Belle, if 
you should meet a ghost ? 

Belle. — Well, I would n't run. I 'd see 
whether I could find out who it used to be, 
and where it came from. 

Frances. — I 'd try to catch hold of it and 
see if there was flesh on its bones. Would n't 
it be fun ? 

Belle. — Yes. Oh, here comes Raymond 
and Jacob. [Bnter the boys.] 

Ray. — What are you girls doing? 

Frances. — Talking about ghosts. 

Jacob (laughing). — Telling him how 
brave you would be if you met one, I sup- 
pose. Girls usually think ghosts are nice 
until they see one. 

Belle. — Pshaw ! I 'm not a bit afraid of 
them. 

Frances. — Nor I. If I saw one I 'd make 
friends with it. 

Ray. — You would run for dear life. 

Frances. — 1 would not. 



THK MEETING OE THE GHOSTS 1 29 

Belle. — I wish Frances and I could show 
you how brave we would be if ghosts came. 

Jacob. — Come on, Ray, let 's go. These 
girls are so brave they make me blush. Of 
course you and I wouldn't be afraid of 
ghosts — men never are — but these girls — 

Frances. — We wouldn't be any more 
afraid than you. 

Ray. — That's too much to believe. 
[Exeunt Ray and Jacob.] 

Frances. — Those boys make me tired — 
they think they 're so brave. They 'd be 
scared to death at a ghost. 

Belle. — I wish we could scare them once. 

Frances. — Oh, Belle, let's dress up as 
ghosts and try it. 

Belle (jumping up). — Just the thing! 

'^ome on this minute and fix up. [They 

m out of room. A moment later the boys 

-enter.] 

Jacob. — Well, where have the girls 
gone? 

Ray. — After something to eat I suppose 
— they 're usually eating when they 're not 
curling their hair. 

Jacob. — Say, Ray, let's dress up as 



130 PRACTICAL DIALOGUES 

ghosts and scare the girls. I 'd like to hear 
them yell. 

Ray. — The very thing ! It will be no end 
of fun. Come on and get fixed up. [They 
hurry off at opposite side of stage from 
which the girls left. Soon after Uncle 
Thomas enters, carrying a satchel in one 
hand and a rifle in the other.] 

Uncle T. — Well, there doesn't seem to 
be anyone at home. Must be they didn't 
get my letter saying I was coming to visit. 
I don't know as it makes much difference. 
I '11 just lie down here and take a nap till 
the folks get home. (Puts his hat on the 
stand, pulls off his boots and throws them 
in the comer, puts his satchel under the 
couch, and his rifle under the sofa pillow, 
then lies down.) I guess I '11 be safe long 
as I have my rifle handy. Don't s'pose 
there 's ghosts here anyway. Plague on it, 
I can't sleep with that light shining in my 
eyes. I '11 have to fix it. (Gets up and 
turns the light down.) There, that 's more 
like it. (Shuts his eyes and goes to sleep. 
A moment later Raymond enters, arrayed 
in a white sheet and a dough mask.) 



THB MEETING OF THE GHOSTS 131 

Ray (softly). — Now I wonder where the 
girls are. Ah, I hear some one coming — 
I '11 go and get Jacob. If they don't come 
down here, we '11 have to hnnt them up. 

[Exit Ray.] 

Belle (entering). — I 'd like to know where 
the boys are. I 'm sure I heard some one. 
I '11 go get Frances and then if the boys 
don't come down, we '11 have to hunt them 
up. I wonder if I 'm a good-looking 
ghost. (She also is arrayed in a white 
sheet and dough mask.) Well, I must go. 

[Exit Belle.] 

Uncle Thomas (sitting up). — Er — what 's 
the matter? Thought I heard some one 
talking. Does n't seem to be anyone here, 
though, — guess I was dreaming. Maybe 
some ghosts around, but I reckon I 'm safe 
long as I 've got that old rifle along. Won- 
der if my pocketbook 's safe ? (Feels in 
his pocket.) Yes, it 's here. Guess I '11 go 
to sleep again. (Lies down and goes to 
sleep. Belle and Frances in their ghost 
costumes steal on to stage.) 

Belle (softly). — Now we '11 hide here and 
wait for the boys. 



13a PRACTICAL DIALOGUES 

[They croucli behind chairs; soon the 
boys enter.] 

Jacob (in sepulchral tone). — Ah, no one 

in sight. We '11 [Belle and Frances 

jump up and scream, " Oh, oh, help 1 " and 
fall into each other's arms.] 

Frances. — Oh, Belle, let 's run ! 

Belle. — I 'm so frightened I can't. 

Ray (in surprise). — Horrors ! Mercy ! 
More ghosts ! 

Frances.— Oh ! Oh ! ! Oh ! ! ! 

Jacob. — Let 's get out of this. 

Uncle T. (sitting up). — Er — what is the 
matter ? (Sees ghosts.) Hi ! Help ! Mur- 
der! (Gets his rifle, stands up on couch, 
and aims at the ghosts.) Don' t you come 
near me or I'll shoot. 

Belle and Frances.— Oh, don't! Don't 
shoot ! Oh, help ! 

Ray and Jacob. — Mercy ! Help ! Don't 
shoot ! Put that down. 

Uncle T. — Don't you come near me — 
this is loaded to kill. 

Girls.— Oh! Oh! Mercy! 

Boys. — Help ! Robbers ! 

[Enter Mrs. Page.] 



THE MEETING OF THE GHOSTS 1 33 

Mrs. Page. — What in tlie world is all this 
noise about? (Sees ghosts and what she 
supposes is a robber.) Oh, murder ! Help I 
Robber ! Police ! (Rushes around the stage 
in terror.) 

Belle. — Oh, mamma, get the police I 

Mrs. Page. — Is that you, girls? What 
are you doing? 

Jacob. — And this is Ray and I, mamma. 
Don't let him shoot. 

Uncle T. — Is that you, Jane? Don't 
you know me ? I vow, this is a nice way to 
be treated. 

Mrs. Page. — Why, bless me, if this is n't 
Thomas. You children go and take those 
rigs off. (Exeunt ghosts.) I 'm delighted 
to see you. (Shakes hands with Uncle T.) 
I 'm sorry this happened, but I guess no one 
is hurt. I hope those children had a good 
scare. 

Curtain. 



A SLIGHT MISTAKE 

Characters : Aunt Jemima, an old maid ; Mr. Perkins, a 
widower ; Fred and Sallie, mischievous children ; Mary, the 



SCENE I. 

A sitting room. Aunt Jemima at tlie 
table writing. 

Annt J. — There, I've finished botli of 
my letters. I wonder if I have any stamps 
left. (Hunts for them.) No, there isn't 
one ; I '11 see if Sarah has any. [Leaves 
the room ; enter Fred and Sallie.] 

Fred. — Oh, Aunt Jemima isn't here. I 
was going to tell her that I heard Mr. 
Perkins is in love with her, and see if she 
wouldn't give me a dime. 

Sallie. — You naughty boy, you 're always 
teasing Auntie. 

Fred. — I suppose you 're always good, 

though. Hello, Aunt Jemima has been 

writing letters. I wonder if one is to Mr. 

Perkins. (Picks up letters.) Why, they 're 

134 



A SLIGHT MISTAKE 1 35 

not sealed. Guess I '11 see what they say 
— you won't tell, will you ? 

Sallie. — No, never. 

Fred (opening the letter). — This is to Mr. 
Perkins. (Reads aloud.) 

" Dear Friend :— 

I am to be at home to-mor- 
row evening, and shall be very pleased to 
have you call. 

Yours truly, 

Jemima Barlow." 

Sallie. — Te-he-he! I guess Aunt Jemima 
doesn't dislike men as much as she pre- 
tends to. What does the other say ? 

Fred (reading). 

"Dear Friend:— 

I am very glad you are com- 
ing to visit me. I shall look for you soon. 
Will you kindly bring me a box of face 
powder when you come ? 
Yours truly, 

Jemima Barlow." 
Sallie. — Oh, te-he-he ! I was sure Aunt 
Jemima used face powder, but she always 
pretends to think it is dreadful. 



136 PRACTICAL DIALOGUKS 

Fred. — Sallie, don't you ever tell, and I '11 
change tliese notes. Won't it be a joke for 
her to ask Mr. Perkins to bring her some 
face powder? Ha-ba-ba! 

Sallie. — Wbat a joke ! Hurry and change 
them before she conies in. (Fred changes 
the notes.) 

Fred. — Now let 's go before we are found 
out. (Exeunt Sallie and Fred.) 

Aunt J. (entering). — Now that I have 
borrowed some stamps I must get my let- 
ters ready. I have written to my friend, 
Mrs. Wilson, who is coming to visit me, and 
asked her to bring me a box of face powder. 
Of course I could buy it here, but I don't 
like to have people know I use it. A 
woman has a right to have a few secrets? 
I 'm sure. Then I have written a little 
note to Mr. Perkins. Of course, I don't 
care anything about him, but I thought I 'd 
let him come to call. Folks do say he 
wants to get married again, but of course 
I don't want him. (Seals and stamps let- 
ters.) I 'm sure I could have been married 
a dozen times if I had wanted to. It is a 
great trial to have a husband to look after. 



A SLIGHT MISTAKE 137 

(Puts on bonnet and sHawl.) Now I '11 go 
and mail these. I suppose Mr. Perkins will 
be real glad to come to see me. (Leaves 
room.) 

SCENE II. 

[Mary, the maid, dusting and arranging 
the room.] 

Mary. — I believe Miss Jemima is going 
to have a beau to-night, she is so particular 
to have everything slicked up. She looked 
real happy at supper, too, and did n't even 
scold when I broke one of her china cups. 
I think she must be in love, even if she does 
say she would n't marry the best man on 
earth. (Knock is heard.) That must be 
a caller — maybe it is Miss Jemima's beau. 
(Goes to door and ushers in Mr. Perkins.) 
Good evening, sir. Let me take your hat. 
Have this easy chair. 

Mr. Perkins. — Ah-er is Miss Barlow in ? 

Mary. — Yes, sir. I '11 tell her you are 
here. (Exit Mary.) 

Mr. P. (walking the floor) . — Ah, I hope 
Miss Jemima will not keep me waiting long. 
I am very anxious to see her. She is a 



138 PRACTICAL DIALOGUES 

most estimable woman — in fact, very esti- 
mable. I am sure it will be wise for me to 
ask her to — share my lot — er — -to be 
Mrs. Perkins. I fear I should not have 
dared ask her though if she had not re- 
quested me to bring her some — er — face 
powder. That shows she regards me as 
a personal friend. You know ladies are a 
little shy about letting people know they 
use such stuff. Yes, it must be that Miss 
Jemima has tender feelings toward me. Ah, 
I hear her footsteps. I wonder if it is safe. 
(Feels in pocket.) Yes, it is. (Takes a 
chair. Enter Miss Jemima.) 

Miss J. — Ah, good evening, Mr. Perkins. 
I am very glad to see you. What a delight- 
ful evening ! I hope you are quite well. 

Mr. P. — Oh, yes, thank you. Miss Barlow, 
quite well. I trust you are enjoying good 
health. I 'm sure you are looking very — 
er — fresh and young. 

Miss J. — Oh, thank you, Mr. Perkins. 

Mr. P. — Miss Barlow, I received your 
kind note, and was much gratified at the 
confidence you place in me. I assure you 
I- — 



A SLIGHT MISTAKE 1 39 

Miss J. — Oh, don't mention it, Mr. Per- 
kins. 

Mr. P. — I assure you I have long held 
you in great esteem, Miss Jemima, but 

Miss J. — Why, Mr. Perkins ! 

Mr. P. — Yes, indeed, and I have brought 
you the — er — little article that 

Miss J. — Why, Mr. Perkins, I don't 
understand what you mean. 

Mary (entering). — Here's a letter. Miss 
Jemima, that Fred just brought from the 
office. 

Miss J. — Thank you; and, Mary, will 
you bring in some tea and cake after a 
while ? 

Mary. — Yes, ma'am. (Exit.) 

Miss J. — If you '11 excuse me, Mr. Per- 
kins, I '11 see what this is — it may be 
important. 

Mr. P. — Certainly, Miss Jemima, cer- 
tainly. 

Miss J. — Why — why 

Mr. P. — Is anything wrong. Miss Je- 
mima? You seem agitated. 

Miss J. — Mr. Perkins, what did — what 
was in the note I sent you? 



140 PRACTICAL DIALOGUES 

Mr. P. — You said you 'd be glad to see 
me, and asked me to bring you some — er 

— tbat is, — some face powder. 

Miss J. — Ob, dear! Ob, dear! How- 
could I bave made sucb a mistake ? 

Mr. P. — Wbat mistake. Miss Jemima ? 

Miss J. — Ob, dear! Tbis was your 
note, Mr. Perkins. I wrote to a friend wbo 
is coming to visit me to bring it because 
I — don't like to bave folks bere know I buy 
it. Ob, dear ! (Begins to weep.) 

Mr. P. — My dear Miss Jemima, I was 
deligbted to get tbe — tbe powder, because 
I tbougbt it sbowed tbat you cared for me 

— to trust me so, you know. I — I esteem 
you very bigbly. Miss Jemima, and if you 
would marry me 

Miss J. — Ob, Mr. Perkins ! 

Mr. P. — If you would marry me. my 
dear, it would be all rigbt you see. 

Miss J. — Ob, really, Mr. Perkins, I 

Mr. P. — Ob, you are n't going to refuse 
me, are you. Miss Jemima ? See, I brougbt 
tbe — tbe powder. (Gives ber tbe box and 
tben bolds ber band.) 

Miss J. — Ob — wby — Mr. Perkins, I 



A SLIGHT MISTAKE 141 

(Enter Mary with cake and tea.) Mary, 
Mr. Perkins lias asked me — that is — 
wants me — 

Mary. — Do yon mean he wants yon to 
marry him, ma'am, and that yon are going 
to? 

Mr. P.^ Yes, yes, that 's it, Mary. You 
guessed it the first thing. 

Curtain. 



SCENE AT THE TICKET OFFICE 

Characters : The ticket agent and eleven passengers — 
five male and six female. 

The scene is laid in a R. R. ticket office. 
At back of stage is a counter behind wbicb 
the agent sells tickets. At either side are 
seats for the passengers. 

Ticket agent. — I hope ever3rthing will 
go off well to-day. I declare I feel nervous. 
This is my first day at such work, and I 'm 
anxious not to make any mistakes. Hello, 
here comes some one. Good morning, sir. 

Mr. B. (entering). — Good morning. How 
much is the ticket to Egypt ? 

Agent. — Why — er — what part of Egypt ? 

Mr. B. — What 's that to you ? It costs 
the same to get there, no matter which part 
you go to. 

Agent. — Well, do you want to go by way 
of the Mediterranean? 

Mr. B.— Huh? 

Agent. — Do you want to go by way of 
the Mediterranean Sea? 
142 



SCENE AT THE TICKET OFFICE 143 

Mr. B. — Don't go by any sea — might 
pass a few lakes, or frog ponds, though. 

Agent. — I 'm not sure what the ticket is 
— probably $300 or more. We don't sell 
those tickets here. 

Mr. B. — $300 ! 

Agent. — Certainly. It costs something 
to go to Egypt. 

Mr. B. — Say, dummy, I believe you 're 
talking about that Egypt over in Africa. 

Agent. — Why, yes. Are n't you ? 

Mr. B. — Of course not. I want to know 
what the fare is to Egypt, Penn. It 's in 
Leland county. 

Agent. — Oh, excuse me. (I^ooks at 
book.) It costs $21.20 to Egypt, Penn. 

Mr. B. — All right. I don't want a ticket 
to-day. I 'm thinking of going there for a 
visit, and wanted to know how much it 
would cost. 

Agent.— Oh, I see. [Exit Mr. B. Enter 
Mrs. C] 

Mrs. C. — If you please, sir, I want to go 
to Scrub. 

Agent. — Yes, ma 'am. 

Mrs. C. — Well, I want to go to Scrub. 



144 PRACTICAL DIALOGUES 

Agent. — Yes, ma 'am. Where ? 

Mrs. C. — Why, to Scrub. I want a ticket. 

Agent. — Well, ma 'am, you don 't need a 
ticket to go scrubbing. (Aside.) I believe 
she's crazy. (Aloud.) Did you want to 
scrub this room, ma'am? 

Mrs. C. (angrily). — Sir, I want you to 
understand I 'm no washerwoman. I want 
a ticket so I can visit my sister in Scrub, 
Adams Co., Ohio. I '11 not buy it of you, 
though. I '11 get it of a gentleman or not at 
all. [Flounces out.] 

Agent. — Oh, dear, I must be more care- 
ful or I '11 get into trouble. [Enter Mr. D.] 

Mr. D. — Say, I want to go to (raps on 

the counter). 

Agent. — Yes, sir. I '11 be glad to sell you 
a ticket. Where do you want to go? 

Mr. D. — Why, to (raps on counter). 

Agent. — But where is it you want to go ? 

Mr. D. (rapping). — Can't you understand 
anything? I 've told you plain enough. 

Agent. — You have n't told me where you 
want to go. 

Mr. D. (rapping still harder). — Well, what 
am I doing? 



SCENE AT THE TICKET OFFICE 145 

Agent. — I should say you are trying to 
knock my counter down. 

Mr; D. (laughing).—- Oh, no I But this 
(raps again) is a rap, and I want to go to 
Rapp, Wis. I hope you haven't taken 
offense at my little joke. 

Agent (laughing). — Not at all, sir. (Hands 
out a ticket.) Here you are, sir. $9.50. 
[Mr. D. pays for ticket, then takes a seat. 
Enter little Boy.] 

Boy. — I want to go to Home. 

Agent. — Home ! Where is your home ? 

Boy. — Why at Home. 

Agent (aside). — Confound it, I 'm having 
wretched luck ! Seems as if I can 't find 
out- where anyone wants to go. (To the 
boy.)' Where w your home ? 

Boy. — At Home, sir, and I want to go 
there on the cars. I Ve been visiting my 
Uncle Peter. 

Agent. — I don't care where you 've been 
visiting. Where did you want to go ? 

Boy. — I guess you don't know the names 
of stations very well. I want to go to a 
town in Minnesota called Home. 

Agent. — Oh, that 's it ! (Gives boy a 



146 PRACTICAL DIALOGUES 

ticket, and lie takes a seat. Enter a woman 
and little boy, carrying satchels, Hand bag, 
nmbrella, lunch basket, bird cage, band box, 
and some bundles.) 

Woman. — We want to go to Passenger 
Depot, Jimmie and me. 

Agent. — I should think, from the looks 
of your luggage, that you wanted to go to 
the freight depot, madam. 

Woman. — No, sir, we want to go to Pas- 
senger Depot, don't we, Jimmie ? 

Jim. — Yep ! I 'm goin' snarin' prairie 
chickens, an' drowndin' out gophers, you bet. 
Say, ma, give me some ginger bread. I'm 
hungry. 

Woman. — Well, wait till I get our tickets. 

Agent. — But, madam, this is the passen- 
ger depot right here. 

Woman (laughing). — Why, Jimmie, he 
don't know where we want to go. 

Jim. — He don't know nothin'. Say, ma, 
give me a piece of gingerbread. 

Woman. — In a minute. (To agent.) We 
want to go to Passenger Depot, Minn. It 's 
in Chisago County. 

Agent (angrily). — Plague take such a 



SCENE AT THE TICKET OFEICE 147 

foolish lot of names ! Here 's your tickets. 

Woman. — Now, Jimmie, let 's sit down 
an' rest a while. 

Jim. — Ma, give me some of that ginger- 
bread. [They begin to have a lunch. En- 
ter a Norwegian.] 

Norsk. — Say, I skall wants to go by 
Jingo. 

Agent (aside). — Well, by Jingo, here 's 
another greenhorn who does n't know where 
he wants to go. I shall go crazy if this 
keeps up, and I '11 not need a ticket to go 
on, either. (Aloud.) Now, sir, where is it 
you want to go ? 

Norsk. — I skall wants to go by Jingo. 

Agent. — But what is the name ? 

Norsk. — I skall have told you what it 
vas. I skall own von farm out dare. It 
vas von pooty gude place. Jingo, Jingo, 
out in Kansas State. I vants to go out by 
Jingo. 

Agent. — Oh, yes. Well, the train 
does n't go there until 3 : 30 this afternoon. 

Norsk. — I skall come some nudder time 
dis afternoon. [Leaves room. Bnter a 
bashful young lady.] 



148 PRACTICAL DIALOGUES 

Y. L. — I want to buy a ticket, please. 

Agent (crossly).- — Do you know where 
you want to go? 

Y. L.— Ono. 

Agent. — For mercy sake ! She does n't 
know where she wants to go. I never saw 
such folks before ! (Aloud.) Can't you re- 
member where you want to go ? 

Y. L. (nervously). — Ono. 

Agent. — Can you remember what State 
it is in ? 

Y. L. — Wyoming. 

Agent. — Oh, I know ! You want to go 
to Ono, Wyo., don't you ? 

Y. L. — Yes, sir. [Gets her ticket and 
sits down. Bnter a fat German woman.] 

Ger. — I vants to go By-us. 

Agent.— What ? 

Ger. — I wants to go By-us. 

Agent. — Go by us ! Well, you may go 
by us or around us or over us, madam. 
Anything to suit you. 

Ger. — Veil, I vants me von ticket. 

Agent. — Oh, dear, this must be another 
of those foolish names 1 What State is 
it in? 



SCENK AT THE TICKET OFFICE 149 

Ger. — In Wisconsin. 

Agent. — By-US — By-us. Say, do you 
mean Pius, Wis.? 

Ger. — Ya, dot vos vat I say — By-us. 

Agent. — Here is your ticket. 

Ger. — Ya. Next dime you gifes me 
mine ticket ven I asks for it, don't it? 
[Goes to pay for ticket and spills every- 
thing out of her hand bag on to the floor. 
Enter two ladies.] 

I St Lady. — I want to go to North Star. 
Give me a return ticket, please. 

2d Lady. — And I want to go to Rising 
Sun. 

Agent (in despair). — North Star ! Ris- 
ing Sun! We aren't running a balloon 
line here, ladies. If we were, I 'd take it and 
go to Heaven. I 've had enough of earth 
this morning to last me, 

I St Lady. — Do you mean to insult me, 
sir? 

2d Lady. — Give me my ticket at once, 
sir, or I '11 report you to the company. 

Agent.— North Star ! Rising Sun ! Re- 
ally, ladies - 

I St Lady. — North Star, Sac County, Colo. 



150 PRACTICAL DIALOGUES 

2d Lad5^ — And I want to go to Rising 
Sun, Wis. 

Agent. — I beg your pardon. I 've had 
sucli a hard time this morning that I 'm 
rather muddled. The train doesn't go to 
North Star until this afternoon. 

ist Lad}'. — Thank j^ou, sir. [Leaves 
the room.] 

Agent. — Here 's 3'our ticket to Rising 
Sun, madam. 

North bound train ! Ever3'one read}- for 
the north bound train ! [They all hurr}- out, 
Jimmie and his mother going last ; drop- 
ping one bundle after another.] 

Curtain. 



THE LOST CHILD 

Characters: Mr. and Mrs. Jones, Grandpa, Grandma, 
Margaret, Teddy, Mollie, Hans, Mrs. Cooper, Minister, 
Chinaman, Policeman, Messenger Boy, and Gipsy. 

The parts should be taken by just as 
young children as can learn the lines. 
Take pains with costumes, as much depends 
upon them. Grandpa and grandma are 
both deaf and quite feeble ; the minister 
should be slow and very serious. Margaret 
should be played by a little girl of about 
six years, and Teddy by a boy (or , a girl 
dressed as a boy) of about four; Put as 
much force as possible in the acting and 
have everything on time, lines given rapidly, 
quick entrances, etc. The more '' snap " 
you put in it the better it will be. 

SCENE I. 

Mr. and Mrs. Jones, grandpa, grandma, 
Margaret, and Teddy sitting at breakfast 
table. 

151 



152 PRACTICAL DIALOGUES 

Mr. J. (rising). — Well, I must go or I'll 
be late to my work. 

Grandpa. — What did you say ? 

Mr. J. — I must go to my work. 

Grandpa.— Hurt ! Who 's hurt ? 

Mr. J. (shouting). — ^Work. I must go to 
my work. 

Grandpa. — Oh, yes, work. 

Grandma. — What did he say ? 

Mrs. J. — Henry said he must go to 
work. 

Grandma. — Haul dirt? Who is he 
going to haul dirt for ? 

Mrs. J. — Work, work — he 's got to go 
to work. 

Grandma. — Oh, yes. 

Mr. J. (putting on overcoat). — Now, Jen- 
nie, take good care of Teddy to-day. Don't 
let anything happen to him. 

Mrs. J. — Why, certainly. I 'd have a fit 
if ^Teddy was n't all right. 

Mr. J. — Well, good-by, everybody. 

Margaret. — Good-by, papa. 

MxS. J. — Good-by, Henry. 
, Teddy. — Good-by, papa. 

Mr. J.— Good-by. [Exit] 



THK I.OST CHILD 153 

Teddy (calling). — Papa 1 

Mr. J. (entering). — What is it ? 

Teddy. — Be a good boy to-day. 

Mr. J.— Yes, I will. Good-by. [Exit.] 

Teddy (calling). — ^Papa ! 

Mr. J. (entering). — Well, Teddy, wbat is 
it now ? 

Teddy. — Bring me some candy. 

Mr. J.— All right. Good-by. [Exit.] 

Mrs. J. (rising). — Now we must get the 
work done. Mother, let me help you over 
to the easy chair. [Helps grandma over to 
the rocker.] 

Grandma. — Where 's my knitting work ? 
I want that. 

Mrs. J. — Here it is. [Hands it to her.] 

Grandma. — I must get Teddy's stock- 
ings done so he won't have to go barefoot. 

Grandpa (rising). — If you '11 just get me 
my hat and cane, I '11 go out for a little 
walk. It seems to be a real nice morning. 

Mrs. J. — Yes, it is. Don't go too far. 

Grandpa. — What did you say about a 
car? 

Mrs. J. (shouting). — Far — don't go too 
far. 



154 PRACTICAL DIALOGUES 

Grandpa. — No, I won't. [Limps out of 
room.] 

Mrs. J. (ringing a bell wHcli calls in tlie 
servant). — Now, MoUie, I want you to clear 
up the table, and get tbe work done. 

Mollie. — Yes, mum, I '11 do so. I '11 fly 
around so fast you can't see me move, mum. 
[Sets back cbairs, and begins to clear tbe 
table.] 

Mrs. J. — Now, Margaret, you must come 
get ready to go for your music lesson. 
Teddy, you come witb mamma while she 
helps sister. 

Margaret. — Come, Teddy, come with 
sister. [Takes his hand, and they follow 
Mrs. J. from the stage.] 

Mollie. — Sure, I guess I '11 have a cookie 
— they 're extramely good if I did make 
'em mesilf. [Stands with her back to 
grandma, and eats cookie.] 

Grandma. — Mollie. (Pause.) Mollie. 

Mollie. — Sure, it 's jist like her to be 
calling me whin me mouth is full of cookie. 

Grandma. — Mollie ! 

Mollie (turning around). — What is it, 
mum? 



THB LOST CHILD 155 

Grandma. — Wlio is it just going by ? 

Mollie (running to window). — The new 
preacher. 

Grandma. — The school-teacher ? 

Mollie (shouting). — The new preacher. 
(Aside.) Indade, if there were a graveyard 
near, I 'd be wakin' up the dead. Now I 
must be gitting me work done. [Clears up 
table.] 

Mrs. J. (entering with Teddy). — Now, 
Teddy, darling, you come here and play, 
like a good boy. (Puts him on a couch and 
gives him some toys.) Mollie, I must go 
down town and get some cloth for Margaret's 
aprons. Will you take good care of Teddy 
while I 'm gone ? 

Mollie. — Sure, mum. Not a bit of harm 
shall come to him. 

Mrs. J. — Now be sure and watch him 
every minute. It would kill me if any- 
thing should happen to him. 

Mollie. — Indade, I '11 take care of the 
little angel, mum. 

Mrs. J. — Now, Teddy, you be a good boy 
while mamma is gone. I '11 be back right 
away. [Exit.] 



156 PRACTICAL DIALOGUES 

MoUie. — Now, I must dust the room. 
[Begins to dust. Enter Hans (wearing 
white cap and white apron, such as butchers 
use),] 

Hans. — Goot morning. Miss MoUie. 

Mollie (jumping). — Sure an' ye '11 scare 
the life out of me I 

Hans. — No, I don't vants to do dot. I 
don't like dead girls very goot — I radder 
you stays alive. You bin von pooty nice 
young lady, ven you don't vas dead. Ya. 

ii^ollie. — Don't bother me, I must get 
my work done. 

Hans. — Say, Mollie, I vants you to come 
out and see vhat kinds of meat you vants 
for dinner. 

Mollie. — We want two pounds of veal 
cutlets. 

Grandma. — What is he talking about, 
Mollie ? I can 't hear a word he says. 

Mollie. — About the meat. 

Grandma. Sweet! Who's sweet? 

Hans.— Sure, Mollie, and you 're sweet. 

Mollie. — Meat — meat for dinner. 

Hans. — Just come out to der wagon, and 
pick out der meat yourself, Mollie. Dot 's 



THE LOST CHILD 1 57 

der pest vay. I vants to dells you bout a 
party dere 's going to be to-morrow night, too. 
^ MoUie. — All right. Teddy, darling, will 
you be a good boy while I 'm gone, an' not 
go out of the room ? 

Hans. — Here, Teddy, you be von goot 
boy, and you can have this candy. [Gives 
Teddy some candy.] 

Mollie. — I 'm going out to get the meat, 
mum. Will ye plaze look after Teddy a 
minute ? 

Grandma. — Yes, I'll watch the little pet. 
There sha'n't anything happen to him. 

Hans. — Come on, Mollie. I 've got a lot 
of somedings to dells you. [Exeunt Mollie 
and Hans.] 

Grandma. — Come here, Teddy, and sit 
on grandma's lap. [Teddy climbs into 
grandma's lap. She soon begins to doze, 
and as soon as he sees she is asleep, he 
jumps down and goes to front of stage.] 

Teddy. — Now I 'm going to run away. 
[Hurries from stage.] 

Mollie (entering). — Now I must finish my 
work. (Dusts.) That Hans is such a 
bother! (Suddenly.) Where's Teddy? 



158 PRACTICAL DIALOGUES 

(Shakes grandma.) Where's Teddy? 

Grandma.— Eh ? 

Mollie.— Where's Teddy? 

Grandma. — Teddy ? I don't know. 

Mollie.— The little darling is lost! Oh, 
the little swateheart ! What shall I do ? 
[Runs back and forth, on and off of stage, 
shouting for Teddy. Grandma follows her, 
limping slowly, and also calling Teddy. 
Enter Mrs. J.] 

Mrs. J. — What's the matter? Where is 
Teddy? 

Mollie.— He 's lost ! 

Mrs. J.— Lost ! Teddy lost ! Oh, what 
shall we do? (Shakes Mollie.) You dread- 
ful girl, why did n't you take care of him ? 

Mollie. — I just went out to get the meat 
for dinner, an' whin I came in, he were gone. 

Mrs. J. — Run down and tell Mr. Jones, 
and have him send for a policeman. Hurry 
up ! [Exit Mollie. Enter Margaret.] 

Marg. — What is the matter, mamma ? 

Mrs. J. — Teddy is lost — we can't find 
him anywhere ! Run over to Mrs. Cooper's 
and see if she has seen him. [Exit Marg.] 

Grandma (weeping). — Oh, dear ! 



THE I^OST CHILD 1 59 

Mrs. J. — I 'm going to hunt around. 
Perhaps he has hidden somewhere in the 
house. [Exit.] 

Grandpa (entering). — What's the matter? 
House ain't on fire, is it ? Anything gone 
wrong ? Anybody dead ? [Enter Marg.] 

Marg. — Oh, grandpa, our dear, little 
Teddy is lost. What shall we do. I want 
my little brother. [Begins to cry.] 

Mrs. J. (entering). — I can't find him any- 
where. 

Mrs. Cooper (entering). — It seems very 
strange Teddy could get lost. Have you 
looked everywhere? 

Mrs. J.— Yes. [weeps.] 

Grandpa. Maybe he 's out in the barn. 
I '11 go and see. 

Mrs. Cooper.^He could n't have fallen 
in the cistern, could he? 

Mrs. J. — Oh, don't mention such a thing? 

Mrs. Cooper. Well, I 'm going to look 
and see. My brother's wife's cousin's sister- 
in-law had a little boy drowned that way 
last summer. [Exit.] 

Mrs. J.— Oh ! Oh ! Oh ! 

Marg.— I want my Teddy. [Enter Mr.J.] 



l6o PRACTICAL DIALOGUES 

Mr. J. (rushing about the stage). — What 's 
this I hear about Teddy's being lost ? He 
must be around here somewhere. Why in 
the world didn't you take care of him? I 
never heard of such carelessness in my 
life If anything happens to him, I '11 

Mrs. J. — Oh, no, you won't. 

Mr. J. — Yes, I will, too ! [Enter police- 
man.] 

Police. — Did you send for me ? What is 
the matter ? Have you been robbed ? 

Mr. J. — Have you heard anything about 
a lost child ? 

Police. — Yes, there was a little boy found 
over on the Bast side who was lost. He 

Mr. J.— Oh, our dear little Teddy ! I '11 
get him at once. [Starts for the door.] 

Police (stopping Mr. J.). — But this was a 
little negro boy. Does he belong here? 

Mr. J. — Oh, no, no — but we have lost 
our little Teddy. 

Police. — What does he look like ? 

Mrs. J. — The sweetest little fellow in the 
world. Has blue eyes, curly hair, and rosy 
cheeks. He has on a white waist and red 
necktie. 



THE LOST CHILD l6l 

Police. — Well, I '11 see if I can find liim. 
I '11 let you know as soon as I get any trace 
of him. [Exit.] 

Mrs. Cooper (entering). — No, lie isn't in 
the cistern, for I have looked. 

Grandpa (entering). — And he is n't out 
in the barn, either. 

Mr. J. — This is terrible ! If anything 
happens to him I '11 

Mrs. J. — Oh, no, you won't ! 

Mr. J. — Yes, I will, too ! [Enter minister.] 

Minister. — My friends, I hear you are in 
trouble. 

Mrs. J. — Yes, indeed, serious trouble. 
Our little boy is lost. 

Minister. — Well, you know that trouble 
comes to us all, and we must bear it pa- 
tiently when it visits us. You must be 
calm and resigned. 

Mr. J. (jumping up). — Calm, when our 
little boy is lost ! I guess not ! I 'm going 
out and search every spot in the city. 

Marg. — I 'm going, too — maybe I can 
find Teddy. [Exeunt Mr. J. and Marg.] 

Minister. — I trust. Sister Jones, that you 
will try to overcome' your grief. You must 



1 62 PRACTICAL DIALOGUES 

be calm, as I said before. Tbis trial is sent 
to teacb you patience. Now if your little 
boy bas come to barm, — 

Mrs. J. — Ob, I can't listen to sucb talk ! 
I 'm going out and bunt up my darling. 
[Hurries from stage.] 

Mrs. Cooper. — I tbink we all ougbt to 
belp in tbe searcb. Teddy must be some- 
wbere near. [Exit.] 

Minister (to grandpa). — Tbis is very sad. 

Grandpa.— Bb? 

Minister. — Tbis is an affliction. 

Grandpa. — Did you say tbat to-day is 
election? ^-- 

Minister. — No — no ! It is too bad tbe 
cbild is lost. 

Grandma. — Wbat did be say, Samuel? 
Have tbey found Teddy yet? 

Minister. — No, not yet. 

Grandma. — Wet ! Wbat is wet ? Is it 
raining ? 

Minister (sbouting). — Tbey bave not 
found Teddy yet, but I bope tbey will — 
hope they will. Good-by. [Exit.] 

Curtain, 



THE I.OST CHILD 163 

[Have a curtain about two feet from front 
of stage, in front of whicli Mrs. Jones and 
the gipsy can enter for the street scene.] 

SCENE II. 

[On the street. Mrs. Jones enters, weep- 
ing.] 

Mrs, J. — Oh, I can't find my little boy, 
and I can't find anyone who has seen him. 
I 'm afraid this will kill us all. [Enter 

gipsy.] 

Gipsy. — Tell your fortune, lady? Tell 
your fortune for only fifty cents. 

Mrs. J. — No, no — go away. 

Gipsy. — Lady in trouble — lady have 
some bad thing happen. I tells you how to 
make it all right for only fifty cents. 

Mrs. J. — Can you tell me where to find 
my sweet little Teddy ? 

Gipsy. — Poor lady ! She has lost her 
nice little boy, and his name is Teddy. 

Mrs. J. — Who told you so? 

Gipsy. — Oh, I know ! I tells you where 
to find him for only fifty cents. 

Mrs. J. — Here, tell me quick. 

[Gives gipsy money.] 



164 PRACTICAL DIALOGUES 

Gipsy. — Let me see your hand, lady. 
(Looks at it.) Oh, a lot of troubles is here. 
And here is a long journey. Before you 
finds him, you must travel much and hunt 
for Teddy. y 

Mrs. J.— Oh, dear, oh ! "^ 

Gipsy (consulting her cards). — I see by 
the cards that you have some good luck. 
Yes, after a long time you will find Teddy ; 
but before the good luck card here is the 
knave of hearts — he makes you bad luck. 
I think a wicked man has stolen your little 
boy away. 

Mrs. J. — Oh, I shall go right to the 
police, and tell him about it. [Exit.] 

Gipsy (laughing). — Ha! ha! I makes 
my money easy. Fifty cents more — gipsy 
has good luck. [Exit.] 

SCENE III. 

As in Scene I. Grandma and Mollie 
present. 

Grandma. — Have n't they found Teddy 

yet? 

Mollie. — I don't know. 



THE LOST CHILD 1 65 

Grandma. — Did you say you guess so ? 

MoUie. — I don't know. [Exit.] 

Grandma. — Oli, tliat is too bad. 

[Covers face with hands, rocks to and fro, 
and weeps. Enter Cliinaman.] 

Chinese. — Hello. I come to gettee dirty 
clothes. (Pause.) You heep sick ? (Pause.) 
Me want the clothes to washee. (Pause.) 
Hello, lady. (Pause.) Hello, lady. (Pause.) 
She feel bad — me feel heep bad, too. [Sits 
down and begins to rock backward and for- 
ward as grandma does.] [Enter Mollie] . 

Mollie. — What 's the matter ? 

Chinese. — Me feel heep bad. >^ 

Mollie.— What for? 

Chinese. — Melican lady feel bad — me 
feel bad alle samee. 

Mollie. — What do you want here ? 

Chinese. — Me come to gettee dirty 
clothes. Me want to washee clothes. 

Mollie. — Well, come help me get the 
basket. 

[Exeunt Mollie and Chinese. Enter Mr. 
and Mrs. J., Margaret, and grandpa. All 
take seats and begin to weep.] 

Mrs. J. — We can 't find a trace of him. 



1 66 PRACTICAL DIALOGUES 

Not a single trace. It is tlie strangest 
thing I ever heard. I believe the darling 
must have been kidnapped. [Enter Mollie 
and Chinese carrying large, covered clothes 
basket.] 

Mollie. — Are these clothes all ready to 
send, mum ? 

Mrs. J. — I don't know — look and see. 
[Enter messenger boy.] 

Messenger. — Say, that policeman sent 
me up to tell you that he has found out 
where your little boy is, and he wants you 
to come down to the station right away. 

[All jump up.] 

Mr. J. (starting for door). — Our dear, lit- 
tle Teddy ! I '11 go at once. 

Bridget (raising cover and finding Teddy 
asleep in the basket). — Oh, the little swate- 
heart i The little darling ! 

[Takes Teddy in her arms.] 

Mr. J. (snatching Teddy ). — Oh, our 
precious pet ! Here, Teddy, you rogue, 
wake up. 

Mrs. J. (taking him). — Oh, give me my 
own sweet darling. 

Grandma (reaching for him ). — Oh, 
Teddy, come and see grandma. 



THE LOST CHILD 167 

Grandpa ( taking Hm ). — No, Teddy ^ 
come to grandpa. 

Margaret. — Here, let me liave my little 
brother. 

Mr. J. (taking Teddy). — No, let me have 
him. 

Mrs. J. (taking him from Mr. J.). — No, 
let me have my own darling Teddy. 

Curtain. 



A MODERN MIDSUMMER 
NIGHT'S DREAM 

BY MINNIE FRANCES BROWN 

[Young man sitting in chair reading Lamb's Tales of 
Shakespeare.] 

I 

It was Midsummer Eve and tlie world 
without — 

Interlocutor : 

Ivcd by young Master Puck and his glit- 
tering route 

Of full many a fairy and mischievous 
sprite 

Was holding high carnival far in the 
night 

The world within, — well 'twas quiet and 
small 

A young lad reading his Shakespeare, 
that's all, — 

A lad with few friends save those that he 
found 

i68 



1 



MIDSUMMER night's DREAM 1 69 

In tHe books that lie owned, and they 

were bound ; 
Yet bound thougb they were by calf skin 

and board, 
He found in them treasures, a precious 

hoard. 

II 

The night was far spent, almost the twelfth 
hour. 

When at last overcome by sleep's sooth- 
ing power, 

The head falls backward, the feet tumble 
down. 

Action : 

And Momus adorns the still brow with 

his crown. 
His poppy-decked wand, the twin of the 

dead. 
In mystical rings waves over the head. 
At last, fast asleep, 't would certainly seem 
This lonely young man should now have 

a dream, — 
A dream he did have — ye gods of the 

night. 
Help and direct me to tell it aright. 



170 PRACTICAL DIALOGUES 

III 

Antonio steals toward him, the prince of 

mankind, 
Witli Jaques and his pleasantries ambling 

behind. 

Ant: 

" My ships are all lost, — my bond goes by 
forfeit," 

"The world's all a stage, — men and 
women act on it." 

Timon : 

Lord Timon then mumbles — " Feast, 
friends, " f or " time flies," — 

Now Ophelia softly looks, starts, and then 
cries, 

Oph: 
" Here 's rue, and rosemary for remem- 
brance laid." 
Interlocutor : 

Oh, *' sweets to the sweet," — farewell, dear 
dead maid. 



MIDSUMMER night's DRKAM I7I 

Next Lady Macbetli comes, with sorrowful 

mien, 
Walking ever to cry (L. Macbetli) "Will 

these hands ne'er be clean?" 

IV 

Then lago, the paragon, the noble, the 
true! 
lago : 

" Steal my purse, but leave that which 
enriches not you, 

Good name, dear, my lord, in woman and 
man. 

Of their souls is the jewel, so keep it 
who can." 

The fair Desdemona coming close by his 
side 
Desdemona : 

Breathes, "I am but a child that my 
husband sore chides ! " 

Mark Antony's figure the next doth ap- 
pear, — 
M. Antony : 

" Prepare to weep now, if ye have e'en a 
tear ; " 



172 PRACTICAL DIALOGUES 

Romeo and his Juliet, — shades, what a 

pair ! 
There dwells not in Aiden a couple more 
fair. 

V 
Juliet: 

" Wilt thou, now, be gone, whilst yet thou 
mightest stay? " 

Romeo : 
" Night's candles bum out and thou seest 

jocund day " 

Portia (interrupts) : 

" Twice blessed is mercy, falls like rain from 

yon heaven." 
O, noble and upright young judge, thou'rt 

forgiven — 
For breaking the spell — but hear Romeo 

say — 

Romeo : 
*'How is it, my soul? Let's talk, 'tis not 
day." 

Interlocutor : 

Ha! Richard the Third, to be honest is 
wisdom. 



173 

Richard : 

"A horse ! Give me horse, in exchange for 

my kingdom ; " 
Antipholous, next, and the Dromio come in, 
Bach earnestly striving to find his own kin. 

Dromio : 
" Ourselves we do now, sir, remember by 

you " 

Antiph.: 
" Here pawn I these ducats, for my father 
I do." 

VI 

It is full twelve o'clock, and a distant bell 

Now strikes the first note of the dying 
day's knell, 

In a curious circle around him arranged. 

All at once their demeanor is suddenly 
changed : — 

The smiling and scowling their habits 
forget. 

It would seem as if some one had not ar- 
rived yet, — 

For with hands uplifted to each pair of 
eyes 

Some one to discover each anxiously tries I 



174 PRACTICAL DIALOGUES 

VII 

As tlie bell strikes two, steps approaching 

are heard, 
Each visitor noiselessly passes the word : 

All: 

" They 're come ! They 're come ! Imogen, 

Rosalind 1 " 
They pass like the breath of the balmy 

south wind. 

Rosalind : 

*' We find tongues in trees as we seek 

shady nooks," 
Women good, fair, and true, found, as well, 

out of books. 

[Imogen holds up right arm on which 
is plainly seen her bracelet ; both pass 
across stage.] 

Hand in hand all together while the bell 

strikes three, 
[They form for a dance led by Mark 

Antony.] 
Four — peals the old bell, and to dear Auld 

Lang Syne 



MIDSUMMER night's DREAM 1 75 

They march round the dreamer in ne'er 

ending line. 
Still tolls the old bell, five, six. and then 

seven. 
They dance till the strokes have numbered 

eleven. 

VIII 

Twelve — rouses the echoes and the 

dreamer's dull sense, 
They stop, and watch closely in noiseless 

suspense. 

Action : 

The twitching of muscles, the rubbing of 
eyes, 

Which prove the awakened about to arise. 

Then with scampering footsteps, and ges- 
turings bold. 

They descend to the realms ruled by mor- 
tals, we're told. 

[Or: if the exercise is desired for gradu- 
ation, as follows : — ] 

Then with scampering footsteps and ges- 
turings accurate. 



176 PRACTICAL DIALOGUES 

Each descend among mortals, a public 
school graduate. 

IX 

Their visit (or our school year) is ended ! 

I have finished my theme ! 
The sleeper awakes, — it was only a dream. 
Kind friends, fare you well, my story is 

done. 
Good precept and practice ! may they help 

us each one. 

Directions for presentation : 

The interlocutor recites slowly and with 
effect in connection with the speech of each 
apparition, waiting for characteristic action 
and pose. 

The text furnishes suggestions for action 
throughout. A triangle should be used for 
bell, and must be struck in harmony with 
the forming for dance, and the circling 
around the dreamer. 

The apparitions depart leaving the 
dreamer and interlocutor, who finishes the 
text as the dreamer becomes fully awakened, 
and passes off the stage. 



MIDSUMMER night's DREAM 1 77 

Wherever quotations are omitted in text, 
the interlocutor speaks. 

The costuming can be easily arranged by 
studying the illustrations in the different 
plays introduced. 

The different characters appear as the 
interlocutor mentions their names. This 
gives times ■- to get position and be ready 
for speech. 



MIDSUMMER FAIRIES. 

(Motion Song.— Two Parts.) 

Text by Minnie Frances Brown. Music by Mrs. W. F. Leavitt. 



t^f=^ 


— r -h |V--p= 


F^= ^ 


1 

Swiug-iiig 

t^T^ 


-i—~d .' ^ 

to right hand and 


_±_! 1 

1 _ _^_ J 

sway - - ing, 

1 FT-; ^-^q 


P^. 


A 

-#■ • 


~f-'-0 1 ' ^- 



Swing 



mg, 



swing-ing to right hand and 



-N w- 



-^ ^-^1 



Sway -ing to right as we swing;. 






ing, 



Sway-ing to right as we 



S 



h h 1^ 



^ 



-^^' — s 



'^EE^ 



Spring-ing on tip - toe and fling 



in& 



-h K- 






swing;. 



Spring-ing on tip - toe and 



^ 




-^ 


— f- 




— N- 


! 


--1 




=^ 




1 


Wreath 


*— 
-ings 


-J— 
that 


ting 


- a - 


ling 


- ling;... 

— ^ — r~ 




— K- 


^ 




#- 


=d= 

-•• • 






W^ 






y=4± 




=at: 







fling 



ing, 



Wreath-ings that ting-a - ling- 



MIDSUMMER FAIRIES— CONTINUED. 



n?+— ^ : — s — ^--^- 


M 1 


<^ • / / J ; ^ 


--*-. 1 






3 

Fling -ing to left hand up - 


lift - - ed, 

Ik 


_J_5 


^ — ^ T^ — iv_ 


/m \ r~ 


-^— s — ^— ^— * — ih— 


W — J-- i 


i__^ a — ^ = — 1 



ling;. 



Fling-ing to left hand up- 



Spright-ly 


and 


N- 

lithe, 

[— 


for 


— w 

we 


-1 

know. . . 

1 N- 

1* J 




"1 




P 


-*~^ 






=^ 






=b=t= 






-+^ N— 



lift 



ed, 



Spright-ly and lithe, for we 



rfr-i ^^ — t ^ — M 


H 1 1 


±^ — J — J — f — — J^ 


-•- i 


"V y y 




Fair - ies are nim - ble, good - gift - - ed, 

n it 


^fc^— 1 1 


T' ^ — ^— ^ — ^— ^ :! 


ffl— ^ S-. 


t-*— ^.^=i^=£=g^ 



know. 



Fair - ies are nim- ble, and 



i=# 



-^ 



^ 



Back to po - si - tion we throw. 



i 



^ -^ 15^— • :^ :^ 



Back to po 



si - tion 

l8o 



MIDSUMMER FAIRIES— CONTINUED 
II. ... 



:f5=:i: 



-0 ^^ * r • I - » % 



Shak - ing a - loft, tink - ling light - ly, Clang-ing like 






i 



mor - tals be - time, Trem-bling aud blend- ing iu 



3fe 



r J 1 j !'r =q^; -=^1 — I 



JO: 



# 



cho - rus, Sound - ing sweet mys - tic - al chime; 



P 



4==-. 



% 



-^- ^ [^ 



:S=|=^ 



7 
Shim 



mer -ing round to the right, then, — Fol-low, to 



F#=^ 


— h- 


-^ 


-\ — -1 - 


^^ 


— s- 


— ^- 


N 




s 


h^t^ 


-f- 


=i=^ 


=*S*-^ 


tr 


-r= 


=S^ 


-^- 


-#— 


~* 1 



left far and wide; Hark to our mu - sic re- 



^m^^^m^ 



sound - ing, Bound-ing through space where we bide. 
III. 



n ff ^ 






V^ f 


K f\ ^ 
















lm; o 


J J * 




J 

10 

Sly 

n 4 


- ly we slide, of - fer gai - - ly. 


MTj ' ' 


->, 1 1 • N— 

Sc H ^ — -Hy ! 


W^=^ 


1 


b-j-^ ;■ / ^g=j 



Sly 



ly, 



sly - ly we slide, of - fer 



4 MIDSUMMER FAIRIES— CONTINUED. 










JL • -N- 


1 


^—^. h- 


-^-^ ^-^-f^ 


Wd ' j^ 


— # — 


> y— 


-^- \ 


J 11 ^ 
Bend then 


our 


hells down he - low, 


y Tr 






— P^ K ^ !^ N K— 


^ \ * . 


~* ^ 9 Zl \ 


J" « ' 




ly, Bend then our hells down he- 


gai 










1 


■0^ * N- 




— J * ^-n 




^ ^ T~ 




— ^^ — - — tH 


*— i 


Lift high 

n tt 


the 


ro - sy ring, arch - - ing, 








Ak^ j I 1 " r^ K . h. . 1 














J ^ 






» • -■ • 


low, 

n i± 






Lift high the ro - sy ring, 


V ^ ^ 








ih^ N ^ 




— ^ * *— 




^ — i — *— 


— *— 






•^ Path - way 


for 


fair - y - feet,- 


— SO" 




V ft 




ifm \ \ 


-^ [V-^-4^^-^- 






'J' J. . 

arch 


- 


ing, Path-way for fair - y- feet, — 










i?K # s 


S- 


,^' I J 


« i' 


^^^ ?^ — H ^ e ^- 




v * 

13 

Up, to 

n ^ 


the 


left, swift - ly 




steal - - ing, 

1^ 


-M : 


^ ^ ^ N— 


^P=J ^ 


=^r-/ T ' /- 


•/ <^ • 




•♦ • 




so; 

rG-i— > . 




N — -, 


Up, to the left, swift-ly 


iir — ^ ^" 




— e f f~ 




fm * 








vm; * ;v !> 




*^ Trick that 


the 


right hand doth know 






(T\1 af 






-f S N-J N— ^ 


W ^^^7 




Ji^ 1 


L_v g « — :;— — ' 



steal 



Trick that the right hand doth 



MIDSUMMER FAIRIES— CONCLUDED. & 



#^^ 


Nr- 


=^ 




->- 


-^ 


r-h- 










Blithe 


•ly 


the 


— U — 

mid- 


sum- 


* 
mer 


fair 


-fr- 


- ies 






^^=L 






— u 

— ^-T 






-J— 


3t= 




=i= 


^ 



know, 



Blithe- ly the fair -ies will 



1=*: 



^ 



14 

Swing their glad bells to and fro. 



—* i 5^ ^ :J. i 

Swing their glad bells to and fro. 



DiEECTiONS: — This exercise requires small hoops wound with 
colored paper, pink is most appropriate, and decorated with paper 
flowers intermingled with tiny bells. The bells can be wired on 
with very little trouble. Fairies may be dressed in paper costumes 
made to represent the flower chosen. The crepe paper is very adapt- 
able for costuming. There must be an even number of participants. 

1 : Class in position, wreaths in left hand. At 1 swing to right 
hand, and sway body per words. 2: Rise on tiptoe, shake the tink- 
ling wreath at arm's length, right, back to position. 3: Eepeat these 
motions with left hand. 4: Back to position, holding wreath in both 
hands, arm's length down against knees. 5: Hold in both hands, 
lift head-high and shake. 6 : The two so arranged by director, strike 
wreaths together. The grouping will depend upon amount of room 
and number of children engaged in the exercise. 7: Turn the 
wreaths in circle to the right. 8 : To the left. 9 : Place left hand 
to ear, shaking the wreaths with right hand, close to the left ear. 
10: Slide to the left, presenting wreaths, arm's length, left hand. 
11: Hold in both hands, bend to the floor. 12: Partners touch 
wreaths together, at arm's length, forming arch. 13: Change hands, 
with same motion. (Conditions will govern the arrangement of this 
number. Any teacher can plan the figure so that an arch will be 
formed by the union of two wreaths.) 14: Swing the wreaths from 
right to left, chest-high. 

Motions may be added to without singing, by use of two pianos, 
or piano and violin accompaniment. 
183 



" History it the evidence of time, the light of truth, the life of 
memory, the diredion of life, the herald of antiquity, committed to im- 
mortality.''' —Cicero. 



GIBSONPS SCHOOL HISTORY OF THE 
UNITED STATES 

IF^^Y recent events, our country has been making not only 
I m^^ national but world history ; it is important to know, 
! ■ « therefore, that Gibson's History has just been revised 
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The greatest preceptors have with one accord acknowledged 
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Its Arrangement of Matter 

The Arrangement of Matter is Topical. The causes, unity 
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This popular history is not only a model text-book, but is 
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life of LaFayette, to whose services we owe so much. 

The author has told the story of the brave heart and pure life of 
LaFayette in a series of incidents taken from reliable sources, and in 
a way that can not fail to arouse noble thoughts in the minds of the 
readers. Fully illustrated with half-tones. 

Price, n2 pages, paper, 20 cents; cloth, 30 centa 



Cortes, Montezuma, and Mexico 

By Bess Mitchell, Chicago. This is a work of the highest merit 
and is beatifuUy illustrated with half-tones. It tells of the discovery 
and conquest of Mexico, its wars and revolutions, its customs and 
costumes, its ruins and antiquities, its legends and amusements, and 
its probable future. 

The author has made this volume an interesting supplement to the 
study of history and geography, and an invaluable aid in the study 
of the Mexicans, their manners and characteristics as a people. The 
book is written in an easy narrative style, and while it teems with 
fafts and legends of past history, it is of especial interest in recording 
those features of life that are making the history of to-day, 

"It is a good history, good geography, and interesting reading. 
Mr, Flanagan is one of the first to realize the importance of teaching 
the children of the country about Mexico, past and present." — 
Journal of Education. 

Price, J 39 pages, cloth, 35 cents j paper, 25 cents. 



Ensi^i 



ign's Outlines in Ancient, Medieval and 
Modern History 

These outlines are prepared for the use of teachers and pupils 
pursuing the study of history by the topical method. An attempt 
has been made to put a good deal of information in the terse state- 
ments, especially on points not apt to be given in text-books. The 
outlines are adapted to any text or reference books to which the 
pupils may have access. At the close of a country or century, lists 
of reference books are given, to which the author has made frequent 
reference in the preparation of the outlines. Contains z6o pages of 
outlines, notes, maps, all difficult names respelled or diacritically 
marked, also 8o pages blank through the book for notes. 
Price, cloth, 75 cents 



" Government is a trust and the officers of the government are the 
trustees; both the trust and the trustees are created for the benefit of 
the feofle.^^ — HENRY ClAY. 



Dodge's Outlines for English History 

This work, by S. S. Dodge, of the Chicago Public Schools, is 
designed to aid teachers aid students in the presentation, study or 
review of English History. It aims to place before its readers a 
clear, continuous, interesting and suggestive outline of the social, 
political, intelleftual and religious development of the English people 
from the earliest time down to the present. The Topical Reviews, 
Topics for Written Work, Queer Queries, etc., will be found both 
useful and suggestive. The Outlines are helpful to those teachers 
who have books in which the text is too long for school use, also 
where a variety of books are in use. 

Price, paper binding, 128 pp., 25c. ) board binding, 35c. 



lake's Course of Study in History and Literature 

By Emily J. Rice, Chicago School of Pedagogy. For each grade 
of the public schools, from the first to the eighth inclusive, an outline 
is given for teaehing history and literature. This outline includes 
lists of stories and poems histories, books of reference, etc. Follow- 
ing these are outlines for work in history and literature for each 
grade from September to June inclusive. Also chapters on "Methods 
of Teaching History," and " The Relation of History and Art." 

It is a vigorous piece of work, comprehensive and attractive. The 
outline work in history and literature for each month is a master- 
piece. A bibliography of books of reference and children's reading 
referred to in the volume, covers 21 pages, arranged under authors, 
with publishers given. 

Price, cloth, J 90 pages, 75 cents 



Trainer's How to Teach and How to Study United 
States History 

Proceeding upon the assumption that the student should remember 
important fads, the author presents by means of admirable Brace 
Outlines for the Blackboard, A Series of Object Lessons in History. 
This work also contains a Blackboard Analysis of each Topic in 
United States History, Direflions for Teaching and Studying each 
Topic, Methods, Written and Oral Reviews, i,ooo Questions and 
Answers on United States History, Questions on individual States 
and Territories, Names and Mottoes of States, etc. They give a 
clear and intelligible outline of all important topics ; confusing, 
non-essential details being avoided. The book contains 328 pages. 
Price, cloth, $ J .00 



In addition to these we carry all the standard works on 
history, such as reference, texts, travels, accounts, etc. We 
sell these at the lowest prices. 



A. FLANAGAN 

267 Wabash Avenue, CHICAGO 



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